• Journal of the Korean Society of Costume
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• v.44
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• pp.37-56
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• 1999

In clothing, a tendency of Bisexuality is in case of wearing clothing of the opposite sex, the mixing of modeling principle and characteristic of man and woman, the exclusion characteristic of sexuality that present sexlessness-the third sex. They-Designer Gabrielle Chanel, YSL, Giorgio Armani-give characteristic of man's fashion to women's fashion. However, the consciousness in design is different. Chanel apply principle of man's suit to woman's wear to express authority and power about gender image, hereby she express women liberation and equality of man and woman based on social ideology through fashion especially, she express women's sexual independency and self assurance to her clothing. YSL express liberal and bold women that pursuit reasonal and liberal life in 1970. As he apply tailoed suit's rigidity to women's wear, he made 'pants look' universal in women's wear through“Dress for success”in modern life. Armani apply successful modern image to women's wear, so he express women's image of confident intellegent as well as feminine image. He focus women's new image as man living liberal and indivisual life excluding social category rather than will of equality of man and women. Gernreich break sexual prejudice and release women freely, furthermore, as he express concern of sexuality pursuit liberty of mankind surpassing sex distinction with women liberty. Gianni Versace pursuit mix and extinguishment of sexual image many-sided, and break fixed idea of sex, and reprovide feminine and masculine image. So his design tend homosexuality because he regard women's glamor and ostensible sexuality as standard of beauty, he apply this to man's wear as well as women's wear. With this, he expresses sensitive and liberal man's that break characteristic of Gender that symbolize power and authority in man's wear through 'Without ties'.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.573-585
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• 2023

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men's dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men's dress was deliberately designed to demarcate stylistic distinctions in women's dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon's Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men's dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men's dress during the Joseon Dynasty.

• Proceedings of the Costume Culture Conference
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• 1998.09a
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• pp.50-51
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• 1998

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Journal of Fashion Business
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• v.5 no.5
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• pp.77-86
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• 2001

The traditional dress of a nation represents that nations organic culture. The traditional Hanbok dress has become our traditional wear through many centuries of history. This paper studies the real world use of daily Hanbok and provide comparative data and compares the traditional and daily Hanbok with focus on the basic Hanbok. It will also present my views on the future of daily Hanbok design with beauty as an emphasis.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.6
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• pp.1094-1105
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• 1997

Balla within Italian art is characterized by the irreducibility of proteiforme work. He was aware of the possibility of abolishing all the barriers between major arts and minor arts and he placed dissemination of art in life: He applied his idea of a lively, joyous art to the world around him. His irruption of art into life appeared in futurist clothing. As a father of Futurist fashion he designed the futurist dress for men and women. It was invented a new type of dress. It was conceived as the realisation of his art-life-festivity and created with an mimic funtion of modern city. In futurist men's out-fit, he eliminated static lines, forms and colors and he used asymmetrical cuts and various strong bright colors. The colors was the determinent of factor of use of clothing. Women's dress was secondary to his reevaluation of the male dress but it was current with other European trend. He made dynamic patterns in textile design, which were the key point in the futurist design. The factors of the futurist textile design were abstract character, dynamic character and asymmetrical character. But the patterns was not related to the dynamic forms. His invention of the new style was simple form with dynamic patterns as a modernizing factor in clothing design.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.1
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• pp.98-115
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• 2017

This study categorizes the formative aspects of dress and their implications according to the extent of revealing or concealing corporeality based on body perceptions. By considering the notion of dress as bodily practice to be a theoretical and methodological framework, this study combines a literature survey and case analysis to analyze and classify the forms of women's dress since the 1920s when contemporary fashion took hold. As examined in this study, the typology of dress was categorized as body-consciousness, deformation, transformation, and formlessness. Body-consciousness that is achieved through tailoring, bias cutting, and stretchy fabric displays corporeality focusing on the structure and function of the body as an internalized corset. Deformations in dress are categorized into two different subcategories. One is the expansion or reduction of bodily features based on the vertical or horizontal grids of the body, which visualizes the anachronistic restraint of the body through an innerwear as outerwear strategy. The other is exaggerations of the bodily features irrelevant to the grid, which break from the limitations and constraints of the body as well as traditional notions of the body. Transformations of the body refer to as follows. First, the deconstruction and restructuring of the body that deconstruct the stereotypes in garment construction. Second, the abstraction of the body that emphasizes the geometrical and architectural shapes. Third, transformable designs which pursue the expansion and multiplicity of function. Formlessness in dress denies the perception of three-dimensionality of the body through the planarization of the body.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.20-34
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• 2010

This study is intended to suggest the characteristic of dress and its ornament introduced in terms of naturalized words on Korean newspapers and magazines published from the age of enlightenment to the Independence(1876-1945). First of all, naturalized words in that period(1876-1945) can be classified into words originated in Japanese, words originated in western countries and borrowed words came from Japan. Borrowed words which came from Japan are almost related to Japan's traditional dress like Gudu, Gabang, Kimono, Nemaki, Ebijahagama, Hagama, Sirusibanden, Doriachi, Dombi, Sarumada, Sseumeeri, Doriachi, and Mombbe. Borrowed words originated in western countries are like Frock coat, Bonnet, Necktie, Chapeau, Scotch, Homespun, Chamois, Skirt, Spring Coat, Ribbon, Silk hat, Panama hat, Handbag, Pajama, Shawl, Apron, Cuffs, Pocket, Handkerchief, Morning coat, Combination-one piece, Rain Coat, Burberry, and Permanent, etc. Borrowed words came from Japan is Lasa[raxa], jokki[jaket], Les[lace], Veludo[velvet], Bbanss[pants], Oba[overcoat], Meliyas[medias], Shass[shirt], Manto[manteau], and Sebiro[civil clothes]. As we can see from the result of research, borrowed words from the age of enlightenment to the Independence was because of its special social situation, Japanese imperialism, they are divided into real western words and words came from Japan or Japanese. In terms of items, a lot of words related to men's suit and women's dress, accessory, etc. It confirms that men's dress was westernized in the whole part compared to partially westernized women's one. A lot of words used at that period are now adapted to Korean language and became the foundation of words used in the current dress and its ornament area.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.150-161
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• 2014

The purpose of this study was to examine the differences in image perception, and to investigate the differences in age and income inferences according to the wearing of accessories with black dress. A quasi-experimental method was used for this study. The experimental design was a $2{\times}3{\times}3$(necklace${\times}$earrings${\times}$corsage) factorial design. The subjects were 610 female college students residing in Seoul. The model in the stimulus photographs was a woman with straight long hair. She wore a black one-piece dress with round neckline and short sleeves. The findings indicated that the wearing of a necklace enhanced individuality, attractiveness, and cuteness in women. Professionalism and individuality were heightened when she wore an earring. The red corsage enhanced individuality, but it had a negative effect in professionalism. As for the effect on interaction, attractiveness was more highly perceived when both necklace and large earrings were worn without a corsage. The absence of both necklace and earrings led to a low perception of professionalism, attractiveness, and individuality. The wearing of a necklace was more strongly linked to older age and high income than not wearing it, and it was perceived as more youthful if earrings were not worn. As for interactions, the wearing of small earrings and a red corsage was linked to the oldest age.