• Fashion & Textile Research Journal
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• v.5 no.4
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• Korean Journal of Human Ecology
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• v.2 no.2
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• pp.39-48
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• 1999

본 연구의 목적은 두 종류의 다른 연구자료- 유물과 문헌자료를 이용하여 1950년대 초기에 유행하였던 미국여성복식 가운데 쉬스 드레스(sheath dress)의 디자인 특징을 고찰하는 데에 있다. 본 연구의 일차자료로는 하와이대학교(University of Hawaii)의 The Western Costume Collection에 소장된 1950년대 초기의 복식으로 추측되는 유물과 1950년부터 1955년 사이에 출판된 Vogue, Harper's Bazaar, New York Times Magazine을 문헌자료로 이용하였다. 연구결과, 1950년대 초기의 미국 여성복 디자인의 특징은 여성의 신체적 특징을 강조하며 여성스러움의 미를 극단적으로 추구하는 쉬스 드레스(sheath dress)의 ‘the straight and slender look’으로 요약될 수 있었다. 나아가 문헌분석을 통하여 본 연구의 유물자료가 50년대 초기(1950-1954)의 미국여성복식 디자인의 특징을 보여주는 대표적인 이 시기의 복식유물로 그 사용연대가 확증되었다. 본 연구는 지금까지 주로 문헌자료의 분석만으로 한정되어 왔던 한국의 전형적인 서양복식연구에서 한 걸음 나아가 과거에 실제로 입혀졌던 복식에 대한 이해를 확장하기 위한 또 하나의 연구방법으로 문헌분석과 유물분석(object study)을 병행하여 시도해 보았다는 데에 그 의의가 있다.

• International Journal of Costume and Fashion
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• v.13 no.2
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• pp.65-77
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• 2013

The purposes of this study were to document the fashions adopted by young women in the United States in the 1980s and to explore if and how the dynamic shifts toward postmodernist values influenced those fashion trends. Fifteen U.S. women who were college students in the 1980s were interviewed for the study. In analysis of the data, we focused on social changes during the 1980s and the cultural impact of postmodernism vs. modernism as influential factors. Both postmodern and feminist ideas challenged the mainstream cultural framework of capitalism. U.S. women's styles and behaviors concerning dress reflected characteristics of postmodern consumption patterns, which include nostalgia, ethnic dress, androgyny, eclectic and novel clothing combinations, surprising or humorous appearance, and nonconformity. Despite the critique of conformity and conservatism in dress that had emerged in the 1960s and remained in at least minority or subversive trends, the importance of brand names and designer labels increased in mainstream fashion. This study helps us better understand the dynamics of fashion as it reflects societal and value changes in a transitional time in history.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.65-75
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• 2000

The purpose of this study was to survey about the suitability of maternity dresses on the market and thus to contribute for the maternity dress makers to produce clothes which are ergonomic and wanted by customers. The chief designers of the two major maternity dress makers were questioned about design and production planning, and 195 subjects who had an experience of delivery within a year were questioned about their consumer behavior, preference, and body fitting. The suggestions according to the results of the questionnaire of maternity dress makers and customers were as follows : 1. The most important item, an one-piece dress should be produced a lot more than other items. 2. The designs of maternity dress should be more simple, sophisticated, and natural. 3. The colors of pastel tone rather than trendy colors should be used. 4. The materials of maternity dress should be washable and able to help pregnant women's activity. 5. The front patterns of maternity dress should have more ease than the back patterns have, to cope with increasing abdominal girth and bust girth.

• Proceedings of the Costume Culture Conference
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• 2001.10a
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• pp.92-92
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• 2001

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.6
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• pp.1017-1034
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• 2021

The "Escape the corset" movement raises the question of gender norms in dressing by rejecting the socially established ideal women's clothing. The context is similar to Rational dress of the 19th century, which claimed that women could also wear pants. Cartoons and webtoons reflect the characteristics of each era, including images and stories, and express social problems of the time implicitly and satirically. Thus, this study examined women's clothes expressed in cartoons and webtoons and analyzed their characteristics. The results are as follows. As an expression to the recipient of both clothes, women tried to form their identity through a rational attitude and break away from their embellishment, which was regarded as oppression from society. On the other hand, as an expression of the attitude of others towards the recipient of both clothes, people argued the changed appearance of women as a non-ideal form which should be corrected. This study is significant for proving that the dressing contains gender norms of the time beyond the trends.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.541-549
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• 2007

Goguryo is the ancient dynasty which established the system of ancient state earlier than Baekje and Sila, and was a strong political and military power. Unlike the rock carving works of prehistoric times, mural paintings composed of line and color tones in tombs are characterized more by its social aspect and symbolism as a serious form of art than other cultural heritage of Goguryo. In response to that, this study analyzed the dress and ornaments of women found in Anak No. 3 ancient tomb, Susan-ri ancient tomb, Ssangyeongchong, which are the ancient tombs in Pyeongyang from 4th century to 5th century, have relatively more ancient tombs than any other places and preserved the mural paintings well, by using the plate, slide, literature and data related to relics in order to figure out the characteristics of women's dress and ornament in Goguryo, and the lifestyle and social aspect of Goguryo.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• 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.

• Proceedings of the Costume Culture Conference
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• 1998.09a
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• pp.35-36
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• 1998