• Journal of the Korean Society of Costume
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• v.32
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• pp.149-162
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• 1997

In this paper it was observed that the influences of social environment that had been saturated by the modern awareness and west-ern culture effected largely on clothing. Also it was studied how and by what en-vironmental factors the costume during the enlightening period was accepted and devel-oped in Korea relative to social cultural en-vironment. In this research the emphasis was placed on the process of changing to western clothing especially the influence of Group Clothing on the general women's clothing. Therefore the types of group clothing and its influences were studied. in this study the types of group clothing recalled were modern women's clothing mission-ary women's clothing professional women's such as nurse uniforms school girls' uniforms and the invention of women's sports wear. And lastly it was searched for the direction of developent in apparels. From the above mentioned we can conclude that the clothing is inseparable from social and cultural Invironments and foreign affairs of politics at the time. Also it is considered that the types of group styles were the necessary happenings in the early stage of modern so-ciety. Because of historical situation in Korea the western clothing style had taken place in a short period of time. however Korean women's clothing which had been centerred around group clothing was considered to have changed from Korean traditional costume to western clothing by rational decisions of modern awareness in-stead of sudden change from traditional clothing to western clothing by indiscrete acceptance of western culture.

• Journal of the Korean Society of Costume
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• v.26
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• pp.123-143
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• 1995

Clothing as one of elements of culture has been interwoven with cultural diffusion, and accompanied the most visible change. In this paper, it was focused that the process and the characteristics of western clothing adop-tion of Korea from 1876 to 1945 corelating with cultural diffusion theory. They were analyzed through the change of clothing reformation system by government, school uniform, and social phenomenon. The finding of this paper were as followings; 1. The process of western clothing adoption was forcibly demanded by Japan, therefore influenced by Japan. 2. The clothing reformation which was forced to accept western style was confronted by complex of cultural, psychological and economical resistance. 3. The fashion leaders of this period were Korean students studying abroad, diplomatic officials, members of the armed forces, government officials, students of western educational systemed school, and lady of evangelist. 4. Man adopted western clothing earlier than woman. 5. Western clothing adoption was took precedence in case of formal wear, diplomatic official's attire, military uniform, and school uniform. 6. In this process, we can find 'transculturation' by Malinowski and 'reinter-pretation' by Herskovits. 7. This process was a kind of 'reorientaion'. 8. The change of clothing which was affected by the tradition, for example, robe for the ancestral rites was evolutionary than others. 9. Clothing elements based on mental or internal characteristics like which clothing was hardly changed by compulsion or extortion. 10. The external trends of clothing change during this period were simplicity, utility, and decrease of status symbols.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.1 s.33
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• pp.31-43
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• 1990

This research studied the first impression of a stranger in various styles of Korean or Western attire in several socially interacting contexts. The semantic differential scale was used to analyze the responses of IHO male and 180 female university students to line drawings of male and female figures in Korean or Western formal and informal attire in campus, office, and ambiguous contexts. The data were analyzed by factor analysis, one-way ANOVA, and Duncan's test. Six factors emerged to account for dimensions of first impressions. These were evaluation, potency, prestige and formality, conformity, likableness, and conspicuousness. Clothing styles had a larger effect on responses than context. Persons in traditional Korean styles were perceived as more prestigious, formal, individualistic, and less competent than those in Western styles. Conversely persons in both formal and informal Western styles were perceived as more attractive and more competent than those in traditional Korean styles. Persons in casual Western styles were considered least prestigious and least formal. A weak interaction effect was found between clothing style and social context.

• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.2
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• pp.73-84
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• 1990

The present research investigated perceptions of persons wearing Korean and Western clothing with reference to judgement of appropriateness of style in a variety of socially interacting contexts and relationship to social schemata and to general clothing interest. 180 male and 180 female students responded to open-ended and Likert-type questionnaires. The stimuli were 9 line drawings of male and female figures in traditional Korean and Western formal and informal attire. Data were analyzed by content analysis, frequency, percentage, and mean. Traditional Korean clothing was judged as inappropriate on the campus and in the office but appropriate in the ambiguous context. Korean traditional styles were related to person schemata, but Western styles were related to role schemata. Furthermore, Korean styles were considered to be 'impractical' and 'inactive.' A newly emerging perception of persons wearing Korean attire as 'individualistic' and 'radical activist' was discovered. Impressions of persons wearing traditional Korean clothing were partially related to subject's own clothing interest.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.131-146
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• 2000

The starting point of this study was that the Orientalism reflected in the modern clothing is realized the different view by Western and Eastern. Based on this regard, this study semiotically analyse that clothing is creating the cultural values and signification and that the western designers are reproducing an ideology as orientalism being the western-oriented thought when expressing the Asian image in the modern clothing. The theoretical sides are based on the semiotic analyses of F. Saussure, C. Peirce, and R. Barthes. By the result observed through this study, the Orientalism reflected in the modern clothing designed by Western designers are discriminative image, mystic image, past-oriented image, natural image, and complex-eclectic image. The discriminative image is reproduced as a savage and uncivilized image. In addition, it regarded as a decorative and superficial image is expressed as if it is an uncharacterized and underdeveloped image in the modern clothing. The mystic image is reproduced as a romantic image to stimulate Westerners'curiosity. That is, Asian image is regarded as a dream and magical image rather than a scientific and rational image. The past-oriented image is expressed through restricting Asian positive image in Asian historical glory. The natural image differs from Western image based on science in the modern clothing. The modern clothing regards the natural image as a primitive and instinctive image. The complex-eclectic image is the pastish pattern through selecting and distributing heterogeneous materials in the modern clothing. This study critically analyzes the western-oriented thought of orientalism in the modern clothing. The results of the study imply that it is critical that we provide a new contact point for the East and the West in the context of our Asian values and traditions.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.3 s.28
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• pp.373-382
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• 1988

The purpose of this study is to compare the image discrepancy with Korean clothing and Western clothing using semantic differential scales. 19 adjective pairs were used for this study. The survey questionnaire were given to 946 married - women in Seoul. For the statistical analysis frequency, percentage, mean, ANOVA, t-test and Factor analysis were used. T he major findings were as follows: 1. To evaluate the women's clothing, four major factors were obtained and it was found that women evaluated quite differently their dresses with Korean and western styles. 2. The major evaluating factor of Korean dress was aesthetic aspect and on the other hand the main factor of western dress was functional aspect.

• Fashion & Textile Research Journal
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• v.16 no.3
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• pp.366-377
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• 2014

This paper is a comparative research study between Korean and American women's garments from the 1910s to 1930s. It focuses on the articles and advertisements of Korean women's magazines and American women's magazines. The Korean women's magazines investigated are 신여자[Siyeoja], 신가정[Singajung], 부인[Buin], 신여성[Sinyeosung], and 여성[Yeosung]. The American woman's magazine investigated is Ladies' Home Journal. This paper explores the differences and similarities between the garments that appear in these magazines. There is little evidence about women's clothing in Korean women's magazines while the American women's magazine includes a lot of information about women's dress and life. Korean women usually wore Korean traditional costumes with traditional terms like Chima and Jeogori but they wore western shoes, stockings, shawls, umbrellas, and some clothing with western materials such as lace, velvet, and rayon with borrowed words. These western accessories and some clothing materials like lace and rayon were the same fashion in America. So, Korean women wore traditional and western clothing together while American women wore clothing influenced by Paris fashion. American women wore various pieces of clothing like suits, frocks, coats and sportswear with undergarments. There were also lots of advertisements about women's under garments and sportswear which was different from Korean women's clothing during the period.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1034-1046
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• 2009

Based upon literature survey, this research aims to analyze western children's clothing and characteristics over centuries. It was not until the 18th century that children were given serious consideration and that fabrication of clothing began to be designed only for children. The very first clothes which revolutionized children's wear was 'a la matelot' in the 18th century which freed children from physical restriction, recognized gender difference, and sailor suit became popular among all sexes and adopted as school uniform. And then children's clothing was shortened in length and adopted tubular silhouette, which allowed greater comfort and movement. The 20th century saw children's wear reform to be carried out after the World War II due to invention of synthetic fiber, easy care dress material, mass production system and sophistication of marketing methods. Further evidence of improvement of children's social status can be found in contemporary designs: for example, 'casualized' wear, 'character design' which reflects children's psychology and 'family look' which is designed to be worn with mothers. This evolution of children's clothing within western dressing support the view that children's clothing is not a miniature of adult wear but it reflects idiosyncrasies of the era and exerts children's dignity.