Go to the main menu
Skip to content
Go to bottom
REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
> Journal Vol & Issue
Journal of the Korean Society of Costume
Journal Basic Information
Journal DOI :
The Korea Society of Costume
Editor in Chief :
Volume & Issues
Volume 21 - Nov 1993
Volume 20 - May 1993
Volume 5, Issue 20 - May 1993
Selecting the target year
A Study on the Meaning of the Five Elements Colours in the Costume
Journal of the Korean Society of Costume, volume 20, 1993, Pages 7~16
Influnced by the official uniform system of China, the colour culture of Korea has changed with time. The ancient colour has included the philo-sophical conception as well as the meaning of thoughts. Forming its tradition, the colour has been accepted in usual life. The philosophy of the Five Element has been developed in the area of Oriental culture and it has influnced to the colour of costume. The five colours(blue, red, yellow, white and black) as the Five Elements colours have disticted the social position. Owing to the fackt, the colour costume has preserved the important meaning. In accordance with the theory of the Five Elements the five colours of costume told its purpose, social position and age. Moreover the relationship among the Five Elements, the direction and the reason have been applied to it with time. Yellow and red have been usually used by kings and high ranking officals, white has been the basic colour for traditional Korean clothes, which hs indicated the integrity symbolizing our race. The Five Elements Colours preserving the theory of Korean the Five Elements have been the conception of Korean traditional colour and they have been developing as the meaning of custom.
A Study on the Influence of Appearance Variables upon the Intellectual Impression Formation.
Journal of the Korean Society of Costume, volume 20, 1993, Pages 17~31
The purpose of this study is to inquire into the influence of appearance cues on the intellectual impression formations, whether there are differen-ces in the impression formation between the case which the appearance is partially percepted and the case wholely percepted. The study consists of the experiment of the factorial design with 5 independent variables of Face (intellectual and social), Hair Style (intellec-tual and social), Clothing Style (intellectual and social), Textile Pattern(single, color, dot, and stri-pe), and Presentation Level of stimuli (upper-half and full-length). The outcomes of study are as follows : 1) The intellectual impression formation was influenced by face, clothing style, and textile pat-tern, but clothing style and textile pattern were more influential than face. When the models with intellectual face wore in intellectual clothing style, they gave more additional intellectual impression. And when intellectual clothing was in single color, it conveyed more intellectual impression. Hair style had no main effect but it influenced on the impression formation through interaction with other variables. 2) There were differences in the formation of the intellectual impressions between the case the appearance was partially percepted and the case wholely percepted. The case of full-lenth pressen-tation was more influential than that of upper-half presentation.
고려왕조대 고려와 교류하였던 제국과 고려의 복식제도에 관한 연구
Journal of the Korean Society of Costume, volume 20, 1993, Pages 31~47
1. The relationship between Korea and Buk-Song had maintained for 164 years(964 1126 A.D). The period of relationship was from KwangJong Year 13(4years after establishing Buk-Song), Song Tae-Cho 1 year, to HeumJong Cheong Dang 1st year(InJong 4years in Koran). Author divides into three periodic terms, and remarkable diplomatic facts are as follows. 1) KwangJong year 13(963 A.D) SungJong year 13(994 A.D) : Normal relations, Song needed Korea's armed support. 2) MokJong year 6(1003 A.D) HyunJong year 9(1018 A.D) : Not steady relations and broke up, by MunJong year 26, Dang requested to resume the diplomatic relations. 3) MunJong year 25(1017 A.D) InJong 4(1126 A.D) : Song utilized Korea as a back supporter, but Song destructed by Keum. 2. Korea was donated knightage without offcial clothing by BukSong 10 times(KwangJong year 13 SungJong year 11). However during 164 years. Song presented some clothings Korea friendly. 3. Even though Korea cound not continue the steady diplomatic relations, Korea had been influenced the social systems including cloth-ing systems by Dang. Song dynasty. 4. The author studys historical materials which show that TongilSh-Shinra adapted social systems of Dang dynasty including clothing systems, which was succeeded to Korea for 200 years. Details are as follows ; 1) Original clothing color-systems which were Ja(purpil), Cheong(blue), Hwang(yellow), Pi, called 4-clored-system, of Tongil-Shinra, was suceeded to Korea, Above mentioned clothing systems of three countries of Korean peninsula. 2) When Korea unified the certificate of Pisam holders were superior from those of Tongil-Shinra and Hoo-Bakjae. There two classes used same seried-color 'ja, (Dan, Pi), Cheong(blue), Hwang(yellow)', or 'ja, (Dan, Pi), Cheong' and lasted to KwangJong year10 as a of-ficial clothing. 3) KwangJong year 7, according to the three colored official clothing system of Hooju, accepted Hooju's KwangJong year 11, that shifted 'Ja, (Dan, Pi), Cheong, Hwang', or, Ja, (Dan, Pi) Cheong', to 'Ja, Dan, Pi, Rok(green)'. 4) The clothing systems which are ja, (Dan, Pi), Rok which established KwangJong year 11 shifted to Song's, Ja, Ju(orange), Rok, Cheong, which had happened SungJong year 14 to MokJong 1st year. 5) 4-colored systems ('Ja, Pi, Rok, Cheong (distictable : sky blue, ocean blue)' shifted to 3 colored system which established Song ShingJong 1st year, which succeeded to Nam-Song and Keum. 5. The relationship between Korea and Yo had maintained for 207 years(918 1125 A.D). The period of relationship was from TaeJo 1st year to InJong year 3. 6. Yo, and Korea were called for king(15 times), prince(7 times). 7. Korea was donated knightage by Yo. The time when HyunJong year 13, Yo donated official clothing. From that time had used to do. The author divides into three periodic terms and discrives the shifting the formal clothing systems. Details were as follows ; 1) HyunJong year 13 MunJong year 8 : Even donating clothing systems from Yo had maintained for 35 years, Yeo, Song, Yo, three countries had not have formal cloth-ing, because they had been on the strug-gling. So that Korea had followed the same way of informal clothing. 2) MunJong year 918 : Yo donated the formal clothing to Korea for the King. Diplomatic condition was in the control, so that whole three countries used formal clothing. 3) MunJong year 19 YeaJong year 3 : Korea was donated 'Kuryumyun Kujangbokje', which became the formal clothings vs China.
A Study on the Possibility of Pattern Design Using CAD System (With concentration on the change of coat basic pattern)
Journal of the Korean Society of Costume, volume 20, 1993, Pages 49~62
The purpose of this research was to utilize of Pattern Design System(P.D.S) by using AM-300 The conclusion were like these : 1. A coat of basic pattern was selected by design sketch. 2. The basic pattern was input into computer by digitizing. 3. The basic pattern was change into designed shape by using various skills. This system were enabled to draw straight lines, curves, delete lines, sections of lines, extend lines, cut pattern into sections, measure line or section reproduce whole pattern shape of section, rotate and mirror pattern and complete patterns. 4. Automatic grading of finished master pattern have been developed by creation and modification of grading rules of basic pattern. 5. Production pattern added seam allowance, not-ches was generated by P.D.S menu option. 6. Finished pattern design was plotted out 100% and 20% size by AM-300 Plotter. This results will be the basic materials to develop the CAD SYSTEM if some problems were improve. Furthermore, the utilization of P.D.S is expected to be developing in pattern making process.
A New Perspective on style and its change in the historical Met-hodology on Dress.
Journal of the Korean Society of Costume, volume 20, 1993, Pages 63~72
The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.
A Study on the constructing Factors of the Female Suit Image
Journal of the Korean Society of Costume, volume 20, 1993, Pages 73~82
The Purpose of this study was to identify the constructing factors of female suit image. The questionnaire consisted of 69 words expressing suit image were developed, and six suit slides were selected for stimulus. Sixty-eight female university students majored in clothing and textiles were responded to each sledes, and then factor analysis was conducted. Six factors, such as attractiveness, peculiarity, grace, femininity, youthfullness, and comfort were found out as constructing factors of suit image(total vari-ance 60.5%) by the principal component analysis. The attractiveness factor which explained the largest variance included words such as countrified, refinement, and beautiful. Peculiarity factor included words such as peculiar, bold, complex, and decorative. Grace factor included words such as classic, grace, and elegant. Femininity factor included such as masculine, feminine, soft, and dressy. Youthfullness factor included words such as youth, bright, and charming. And comfort factor included words such as casual, comfort-able, active, and natural. The Cronbach's
of the each factors were. 78~92.
A Study on the Clothes of Shamanistic Ritual(I)
Journal of the Korean Society of Costume, volume 20, 1993, Pages 83~91
Signifying clothes can be defined as a process in which a clothes obtains a symbolic meaning by confining its use and purpose. In this paper we catagorize the process of signifying clothes that appears in the Byongkut as follows : first removing the clothes, secondly putting on the clothes, and thirdly burning off the clothes. Removing the clothes is a process of dramatic realization and clearly shows proven facts about the things that will occur in the process. Putting on the clothes is a process of falsified expression in which the interest is transferred from the person who wears the clothes to the clothes itself by the shaman's insinuation who leads an interpretation about the clothes. Buring off the clothes is a pro-cess of mystification in which the end of Byongkut is sublimated mistiriously by making the partici-pants believe with the burning that the clothes and the diseases have been curred, and therefore, the ritual is kept from spoiling. The clothes used in Byongkut that religious belief and belief system are expressed through behavior style, and that supernatural power is designed to reveal is related with the various aspects of symbolic life indicated by the clothes.
A Study on the symbol of the Korean Beak Eui
Journal of the Korean Society of Costume, volume 20, 1993, Pages 93~104
The purpose of this study is to clarify the adap-tation of traditional beauty of dress in Baek Eui for the establishment of tradition of dress culture. Especially, the color of the traditional dress rep-resent a symbol which is connedted with the na-tional character and the evvironment. But it is hard to examine closely because color preference are transformend with the times. This study is framed within the limits of the next themes : the origin, history and meaning of the Baek Eui ; the philosophical theory of cosmic Five Elements and the Prohibition of Baek Eui ; the beauty of Baek Eui. As the national character is indicative of the conservativeness and the purity, Koreans have kept up wearing Baek Eui spite of the occasional prohibition. Since the color of the dress represen-tatived the signs of the social class and the power, over the eighty persent of the common people put on the Beak Eui : ramie and flax fabrics that has it's own color in Chosun-Dynasty. I think that the use of natural color harmony is prominent and the beauty of Baek Eui is the naturality and the non-artificiality. The meaning of the symbol on the Korean Beak Eui is the divinity, the holiness, the purity, the cleanliness, the modesty, the frugality, the integ-rity, the constancy, the elegance, the simplicity.
고려시대 견직물의 실증적 연구
Journal of the Korean Society of Costume, volume 20, 1993, Pages 105~124
A study of Movement on Modern Fashion
Journal of the Korean Society of Costume, volume 20, 1993, Pages 125~135
The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume de-sign, and thirdly to examin the characteristics of movement as shown in modern costume de-sign. For this study, we selected and analyzed some costume designs among those introduced in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L'Officiel that have been issued since 1988. As this research is carried out only through the analysis of pictures, it is not ac-companied by a study on material itself. The result of this study is that the ex-pression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the cloth-ing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual move-ment. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension of the costume. And the illusionistic movement is expressed by the de-sign to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the cos-tume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediated visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the en-largement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monot-ony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of 'movement'. finally, as this paper deals with the ex-pression of movement as shown in the costume design which prevailed after 1988, it is desir-able hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the ex-pression of movement in our Korean designer's and foreign designer's works.
A Study on Soina Delaunay's Paintings and fashion
Journal of the Korean Society of Costume, volume 20, 1993, Pages 137~150
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.
An Experimental Study on the Fashion Merchandising System-With special reference to the life-style of consumers and the Marketing strategy of the fashion industry-
Journal of the Korean Society of Costume, volume 20, 1993, Pages 151~167
The purpose of this study is to systematize the theory of the Fashion Marketing and merchandi-sing system as well as the strategy for the Mar-keting based on the related variable. Furthermore, this study deals with development of the mark-eting strategy to the relation between consumers and industry. The content conclusion on the research can be outlined as follows : 1. In order to inverstigate how the life-style of consumers affects their sense of fashion, awa-reness of brand, and decision making process of purchase, the life-style of women consumers is classified into 15 types. (1) Acording to the different life-style types, and important difference is found in the consum-ers' sense of clothes, a unique image of outfit and its own favorite image of womanliness. (2) The consumer's awareness of a particular brand has a reasonable relationship with their brand preference and possession of the brands. (3) Their is an important discrimination acco-rding to the life-style types in their brand awar-eness and preference and possesion of brands. (4) The consumers of each life-style type show noticeable difference in the decision making pro-cess of purchase including he motive of purchase, the source of information, the cause of purchase intention, price, the frequency of purchase and the degree of satisfaction of purchased goods. 2. The merchandising system and the market positioning among the fashion industry are compared and analyzed in the following terms ; (1-1) For the purpose of establishing the target market strategy, the industry uses unreasenalbe methods to analyze the life-style of the target customers and the real customers(36%) and the aging phenomenon of brands is remarkable : as much as 37% of brands show over 5 years-old age gap. (1-2) The price setting process depends highly on the cost-plus approach. (1-3) In color planning, too many colors are used in every season(the average number is 22.3) and the investigation of the consumers' favorite color is neglected. (1-4) The manufacturers of successful brands are much likely to employ the textile designer and allow them to develop the various fabrication. (1-5) The regular rate of sales in each season is extremely low(56.04%) : the rate of the succ-essful brands is relatively high at 65%, but that of the unsuccessful as low as 51%. (1-6) 47% of brands reveal the designer-orie-nted fashion merchandising system. The successful brands, on the other hand, show a high rate of merchandiser oriented system. (2) Since the brand positioning is highly cen-tered on each brand image, styles and target age, the new data are presented in this study for the new market development. (3) To set up the target market, the mapping of images between the differentiated market and the consumers is suggersted according to the market positioning of industry and 15 types of the life-styles of consumers.
20C 전반기 한국 평견직물의 유형
Journal of the Korean Society of Costume, volume 20, 1993, Pages 169~178
A Study on Elsa Schiaparelli's Work(II)
Journal of the Korean Society of Costume, volume 20, 1993, Pages 179~190
In the history of fashion, few designers have interpreted the background of the time more accurately and energetically than did Elsa Schiaparelli. She understood the new role of women and believed clothes should suit one's life style. Schiaparelli begun with sportswear, later included suits and dresses. She produced them of great elegance and extreme chic. Simplicity of line was the key to her distinctive and elegant silhouette. Even her simplest designs had elegance. Her concept of clothes was architectual : the more the plane of the body were respected, the more the garment acquired vitality. Schiaparelli combined her knowledge, timing, and sense of daring in the presentation of her designs, colors, fabrics, and embroideries. For V, the garment was not only the medium for the couturier's craft but also the place for artistic expression. Her self-conscious equation of designer's objectives with that of artist is at the heart of her work. Schiaparelli's work is an expression of desire, not merely of design.
A study on Wedding Costume of Korean Nationality in Yanbian China
Journal of the Korean Society of Costume, volume 20, 1993, Pages 191~201
As a part of study examining Korean costume remaining in Yanbian China, this study explored changes in ceremonial clothing for marriage worn by Korean(Chosun race) in Yanbian China. About one hundred years ago, Koreans moved to Yanbian China and had worn traditional clothing for marriage ceremony until before 1940. Data were collected by true interview and field observation while staying in that area. Samo and Dalyung for bridegrooms, Wonsam and Jockdoory for bridegrooms, wonsam and Jockdoory for brides were usual costume for wedding ceremony, however, for couples in inferior conditions of life, Bazy and Jeogory for bridegrooms, yellow Jeogory and red Chima for brides were accepted for ceremonial costume. As western culture came to this area in about 1940, bridegrooms wore western style suit, while brides dress in white Chima, Jeogory and Neowool. To date, Korean brides have worn traditional Chima and Jeogory for marriage ceremony though slight change has occurred in clothing material and in the forms of Chima, Geogory and Neowool. As the pratice reflected the fact that Korean in Yanbian China as established and sustained traditional China as established and sustained traditional costume and Korean identity even in hush socio-cultural environment.