• 대한가정학회지
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• 제35권3호
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• pp.307-318
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• 1997

I observed the important factors of clothing transition - Changes of Korean clothing & reception of Western-style dress - through the survey of the clothing of girl students during the period of enlightenment(1900∼1945) in this study as follows. 1) Stop to use of a long hood an old-fashioned woman shawI(once used to cover th head and upper body when going out). 2) Appearance of same colored Korean costume of the upper and lower sides. 3) Appearance of a short seamless one-piece skirt with a pair of shoulder girdles. 4) Appearance of school uniform, upper white lower black-Korean costume. 5) Appearance of school uniform, Western style. 6) Appearance of sports-wear. 7) Reformation of under-wear. 8) Appearance of short hair. 9) Appearance of socks & stockings and shoes.

• 복식
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• 제50권8호
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• pp.149-163
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• 2000

The purpose of this study is to research the Korean and Japanese costume systems and to compare both of them on the process of adopting the western-originated costumes. The consequences of this study are as follows. Chosen and Japan started simplifying the traditional clothings, Introducing the western clothings and executed the ordinance prohibitory topknots through reforming costume systems since Port Opening Treaties in 19th centra. Japan performed the reformation of costume system effectively through the grand campaign of social reforming enlightment by Meiji Government. Meanwhile in Korea, there were a continual repetition of adoption and rejection in the reformation of costume systems because of strong cultural self-esteem and competition of foreign Empires. However, western-originated cultural perspectives brought the strong self-devaluated view on their own cultures to both countries. And that's the first cause of substitution of western clothings for ordinary ones in both nations.

• 패션비즈니스
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• 제1권3호
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• pp.82-94
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• 1997

The purpose of this study is to focus on the fashion communicating of the East and the west. For this purpose, the study will analyze the Visions of the East in Western Dress has long expressed an intense multiculturalism. This study is realized that clothing has served to consolidate more then to segregate. While never losing the characteristics of its place of origin, clothing has shown itself a reading assimilated object portability and ephemerality promote investigation, at the very least. Eastern ideas of textile, design, construction, and utility has been realized again as a positive contribution to the culture of the West. The East offers a larger concept in alternative to the Western propensity for tailoring. In giving primacy to the textile, Eastern dress emphasizes the flat terrain of cloth, the looping and Wrapping of the garment, and the integrity of the untailored textile. There values, antithetical to postmedieval Western dress, have offered a paradigm of dressing and dressmaking to the West that has been sporadically Influential, and notably so in our time.

• 복식
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• 제6권
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• pp.7-26
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• 1982

Investigation for industrial revolution has been recognized as an important issue of historical science, since industrial revolution itself was a historical moment in modern economic society and in the forming of modern capitalistic culture. If clothing culture had been developed in close relation to social culture. industrial revolution which gave a base for modern capitalistic culture, would be a birth of modern clothing as well as a moment for modernization of western clothing. As it takes for granted that industrial revolution, historical phenomenon is a developmental base of modern clothing culture. This study tried to enlighten the origin of modern clothing culture phenomenon with investigation of industrial revolution as a historical moment in modern clothing culture through documental study. Historian's point of view and method of studying are important when we investigate the clothing phenomenon. Although culture phenomenon of industrial revolution has been evaluated usually through socialogical aspect, studying for clothing culture phenomenon must be carried out on aethetical as well as well as sociological aspect, on account of dualism of clothing, as it is social and artistic nature. In 19th century, there were technical improvement, changing patterns of production, changing social relation and beginning of mass culture. At the same time clothing culture phenomenon was changed in relation to modern capitalistic society. The findings of the study could be summarized as follows. 1. Technical improvement in textile industry and fitting process brought about mechanization of clothing industry. 2. Appearance of popular clothing culture made it easy to spread to various classes of society. 3. Development of transportation system and communication channel made it internationalization of western clothing. 4. Recognition of importance in functional style of clothing. 5. The pursuit of modern aesthetics made rapid changing mode of clothing. Above distinctive features of modern clothing culture were derived from by-product of machinary culture, mass culture, internationalism, rapidly changing mode of various culture during industrial revolution. Industrial revolution was a change of the material world as well as in industry owing to machine advent, then the culture part that displayed directly these changes was the plastic arts of living that mould the material. The problem of clothing construction caused by industrial revolution was solved by pursuing the functional aesthetics. Clothing phenomenon as a process of value transfer participates mass culture in closs relation to general change of various culture caused by industrial revolution. Therefore western clothing gained the qualities of modern culture, condensed as function, and popularity in the process of modernization.

• International Journal of Costume and Fashion
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• 제8권1호
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• pp.1-17
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• 2008

This research analyzes the patterns in modernization of costume that reflects the attitude of accepting the Western culture and the differences in perception, during modernization period (1850-early 1910) in Japan. The Japanese attitude toward the Western costume can be roughly classified into three periods: impetuous acceptance in the early Restoration of Imperial Regime(1867-1883), aggressive acceptance in Rokumeikan period(1883-1887), and the coexistence of traditional and modern costumes after Meiji 20(1887-1910). A Western costume symbolizes wealth and power until Rokumeikan period, however, as it becomes more common, it is considered as an ordinary dress rather than a ceremonial dress. The exact opposite phenomenon occurs to traditional costume. Although Japanese modernization is initially forced by western ideology of power, positive reactions to western culture and changes in perception toward China leads to more active importation of western culture. This reflects the governmental effort such as the Foreigners Employment Policy in the early Meiji period, and the public also became receptive toward change. However, acceptance of the Western culture is only limited to academic and technological areas, while the traditional Japanese ethos(the Emperor system, Shintoism, patriarchism) is obstinately protected. Therefore, it can be inferred that such extreme polarization of modernization and traditional inheritance enabled both perspectives to retain their own characteristics.

• 한국가정과교육학회지
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• 제4권1호
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• pp.57-75
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• 1992

The purpose of this study was to survey the actual condition of education on the western clothing construction in Home Economics and Housework curriculum of high school. And the finding of this study will the helpful to the persons in authority who take part in the course of compilation of the western clothing contruction. The subjects of this study were 101 high school teachers in Chonbuk province. Their responses to the questionaires were analyzed by frequencies and percentiles. The major findings of the study were as follows. 1. Most high school had only a little educational facilities for learning of clothing construction of, if any, they could only show examples in practice. 2 In case of making clothes, students who sew by hand carried out drafting and cutting on their desks in the classroom. When they have practical training, 56.4% of them cheese only one of one-piece dress trousers, and skirt which are presented in the textbook. The related teachers indicated that content composition of the texbook was not fit for the purpose of the students level, and also pointed out the deficiencies of educational facilities, lack of teacher’s research and training, and lack of school hours of evaluation, practical skill was performed in parallel with paper-test at 73.3%. 3. Pajamas and one-piece dress presented in the textbook were the most suitable for the practice at 64.7%. They hoped that illustrations in textbook are so large and full that clothes made through the practice can be worn. Also they hoped that their opinions and wearable guidance will be reflected in the textbook. They emphasized the need of western clothing construction unit because of acquistion of elementary knowledge. The current amount of content composition was enough or excessive. In addition, they understood the curriculum of high school is rather closely connected with that of middles school. Their recognition of the rate of difficulty is very similar to that of other school teachers. They recognized the goal of learning should be applied to the real home life.

• 복식문화연구
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• 제27권1호
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• pp.57-63
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• 2019

Due principally to the desire to seek lower production costs, the bulk of the world's textile and clothing manufacture migrated to low-cost zones, mainly outside Europe, over the course of the late-twentieth century. In the early-twenty-first century, fast fashion became a dominant force worldwide, with 'Western' retail buyers hunting cheaper deals from clothing manufacturers (mainly in Asia), and with occasional disasters not changing matters beyond the duration of a fashion season. Progressively, seams became narrower, cheaper raw materials were used and durability was no longer an aim. Why bother to do otherwise? This was what the 'Western' consumer wanted: fashion to be worn only a few times and then discarded, despite the fact that vast amounts of human, technological and financial resources were wasted in such a quest. By the end of the second decade of the twenty-first century, the production of textile and clothing products continued to contribute substantially to global warming. This paper reviews briefly the current conditions of manufacture, and argues that the research agenda should be focused on addressing the implications of a progressively changed focus, not on fast-fashion products, but instead on the production of products with greater durability. Meanwhile 'Western' consumers need to turn away from fast fashion and realise that waste is bad for their economy and their society. It is argued further, that after a period of re-adjustment, substantial financial rewards await the national textile and clothing industries that undergo such a turn around.

• 한국의상디자인학회지
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• 제24권2호
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• 패션비즈니스
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• 제7권6호
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• pp.67-75
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• 2003

In fashion history, the color "green" has been used from ancient to modern times constantly. Especially nowadays, the worth of green in fashion is becoming bigger than ever before to express the longing for pure nature. The purpose of this study is to define green's imageries in western costume history. For the basic about green, first of all, this study researched green of origin, effect and costumes in western history, then classified green's imageries. Green's imageries expressed in western costumes can be divided mainly into a 'nature imagery' and a 'religious divinity imagery'. Nature imagery was extended again into 'youth, devil, citizen and ecology image'. Youth image came from the luxurious feature of nature and it was extended again into 'innocent love, virgin and immaturity'. Religious divinity imagery has been represented in the ancient Egypt, Islam and Christian religion. In those cultures, green was considered as a sacred color of Osiris, Mahomet and Holy spirit.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.71-71
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• 2003

In the 21st century, people expect new era and are skeptical about standardized life made by mechanization as well as information. They start to regard the Oriental culture, which was thought to be quite different from the Western culture, as an alternative overcoming Western ideas spiritual crisis because the Oriental culture has exotic beauty.