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REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
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Journal of the Korean Society of Costume
Journal Basic Information
Journal DOI :
The Korea Society of Costume
Editor in Chief :
Volume & Issues
Volume 35 - Nov 1997
Volume 34 - Sep 1997
Volume 33 - Jul 1997
Volume 32 - May 1997
Volume 31 - Feb 1997
Selecting the target year
A Study on Clothing of Elderly Women(II)
Journal of the Korean Society of Costume, volume 34, 1997, Pages 5~17
The porpose of this study was to know what kinds of clothes the elderly women preferred to wear according to their ages and body type and to pro-vide basic data for clothing design of the elderly women. Anthropometric analysis and questionnaire study wear done on 230 elderly women over sixty years, For analysis of the data One-way ANOVA and Chi-square were employed. The results of this study were as fol-lows: 1) The elderly women have a prefer-ance fore 'Front openning style' and 'Two-opiece style' which are easy to wear and prefer skirts to pants. 2) Their preference for clothes is de-pendent on their age rather than their body type. 3) The age is the decisive factor on blouse collar design neckline style sleeve ending skirt length location of zippe and waist band style when the select the clothes. 4) The body type is the decisive fa-ctor on jacket style skirt length and waist band style.
An Analysis of the Somatotype of Elderly Women
Journal of the Korean Society of Costume, volume 34, 1997, Pages 19~36
through Sid View Silhouette The purpose of this study was to pro-vide basic information for elderly women's clothing construction and to develop dress forms that can reflect the charac-teristics of their bodies. The subjects were 251 elderly women aged from 60 to 81. Data were collected from 34 photographic measurements of each subject and analyzed by factor analysis cluster analysis analysis of variance. The results were as follows: 1. A decrease in height the bustline drops as age increase. From a lateral view point most of the subjects have straight posture with protruding ab-domens but the somatotype gradually bends bends forward with age. 2) Five factors were extracted from photometric measurement which explain 81.0% of variance. 3 Through cluster analysis using 5 fac-tor scores four types were categorized. Type I was turning over somatotype Type II was swayback somatotype Type III was straight somatotype Type IV was bending somatotype according to its po-sition to the relative plumb liner and their side view contour.
A Study on the Flexibility in Exporting Korean Apparel Products
Journal of the Korean Society of Costume, volume 34, 1997, Pages 37~56
The Korean Apparel industry has played an significant role for the econom-ic development in Korea which is mainaly due to the apparel exports to the world market. However the Koran apparel industry has confronted drastic changes in domestic and also in international market for the last several years. Korean apparel products have lost price competitiveness in international market because domestic labor costs have increased so fast and al-so newcomers such as China or other Asian countries have emerged as compet-itive producers. Furthermore domestic market has been saturated with the Korean apparel manufacturers and also with the foreign retailers. Therefore the Korean apparel industry should establish market-ing strategies in order to regain competitiveness. This study aims to analyze the factors for non-price competitiveness of Korean apparel industry and propose the way to regain competitiveness form the buyers' point of view. The present study utilize the survey data for the internet database which is established by the Cotton Incorporated. The results show that the Korean apparel industry is not competitive in terms of non-price factors such as minimum orders terms of payment preproduction stage use of new technolo-gy and lead times. These factors are not directly related to the price of product which is suggested to the buyers. However these are flexibility factors which play important roles in decision making process of buyers because they can reduce risks in uncertain business environment. Therefore the Korean apparel industry should establish global marketing strate-gies which can enhance non-price competitiveness as well as price competitiveness.
The Study of Koranbok of the Song Dynasty -Based o the study fo Gongbok and Sangbok-
Journal of the Korean Society of Costume, volume 34, 1997, Pages 57~66
This thesis is mainly on the study of Gongbok(official dress) and Sangbok (usual dress) in the system of official o-utfit of the Song dynasty. The Song dynasty has not left many historical remains due to the vicious cycle of intermittent internal disturbance and several outside invasions. According to the records of the Song dynasty which identified official dress with usual dress saying "the official dress of every government officers is his usual dress" this thesis is concentrated on the study of official dress and usual dress among many different types of official outfit. In the Song dynasty had survived until the year of 1123 from the year of 960 us-ing the four colour system of purple chi-nese red green and blue. The four colour system of purple deep red. green and black of official outfit of the Song dy-nasty the first year of Wonpung's regin and wearing Eodae(fish sack)is a sure sign of influence of the system of the Song dynasty.g dynasty.
A study on the Revisions of Basic Women's Beosun for Foot Types -on Slender, Broad, Flat Type of Foot-
Journal of the Korean Society of Costume, volume 34, 1997, Pages 67~78
We executed the wearing test in order to revise the basic Beosun pattern for five kinds of foot type. And we took sensory test to evaluated that revisions. The result were as follows: 1. The characteristics of slender foot is that the foot circumference III is short as compared with foot length. So Kou of basic Beosun is sharp-pointed Hoimok and beosunmok are broad. For slender foot we took down ou of Beosun and use foot cir-cumference III/2-1.5cm as Hoimok like the part shown in dotted line of Fin 6. 2. The characteristics of broad foot is that the foot circumference III is long as comparison with foot length. So Kou of ba-sic Beosun is stubby Hoimok and Beosunmok are narrow. For broad foot we took up Kou of Beosun put foot circum-ferenceI /2-1.5cm for the width of Apbol and circumfernce III 2/-1.5cm for Hoimok like the part shown in dotted line of Fig. 8. 3. because the arch of flat foot is flat the sole of basic Beosun is not suitable to the flat foot. It developes on wrinkles of Duichuk and sole. For flat foot we took down Hom of the basic Beousun like the part shown in dotted line of Fig. 10. 4 We evaluated the revisions of basic Beousun for foot types were useful in senso-ry test.
A Comparative Study on the Literature of Korean and Chinese Shroud
Journal of the Korean Society of Costume, volume 34, 1997, Pages 79~89
Comparison of Korean shroud with Chinese shroud are as follows. 1. Taetae Simeui P'oo Hansam Ko, Mal, Nukpaek, Kwatu, Ch'ungi Po-kkon Myokmok Ri Aksu Mo and Om were used the most inchina. However Mangkon Tapho Tanko Sotae Ri and Kop'o were used more widely in Korea. 2. The cloths of Chinese shroud were p'o, Paek and Kyun but those of the orean were paek Chu Chung and P'o The colors of the chinese and Koean shroud was Hyun Hun and white. 3. The size of the Cinese shroud is as follows. The size of the Ch ungi ws si-milar tothe size of jujube kernel the len-gth of Myokmok was one Ch'ok two Ch'on or one Ch'ok five Ch'on the length of Aksu was one Ch'ok two Ch'on and its width was five Ch'on. The chil of Mo reached the hands and the length of Sw-ae was three Ch'ok and the length of Om ws five Ch'on. the size of the Korean shroud was the same as Chinese shroud except that the size fo Myokmok and the lenth of Chil and Swae was seven Ch'ok respectively,. 4. In Korean and Chinese shroud Aksu was tied by the strings at two corners Myokmok was teid by the strings of four corners. The tip of the Om was divided and Mo wrapped the shole body. 5. The clothes of Soryom was nineteen Ch'ing in Korean and chinese shroud. The clothes of Taeryom in Kun were one hundred Ch'ing in the chinese and ninety Ch'ing in the Korean shroud. The imple-ment of Soryom were Kum Kyo Sangeui Saneui Ch'im Yok and Kyon in the Chinese shroud and were Kum Kyo Sangeui Saneui Ch'im Yok Kyonand Sinmyon in the Korean shroud. In the case of the implement of Taeryom the Chinese shroud had Kum Kyo Sangeui Saneui Ch'im and Yok the same as Korean shroud.
The purpose of this study is to clarify the Kitsch's character of the Surrealism and Pop Art expressed in the modern fashion design
Journal of the Korean Society of Costume, volume 34, 1997, Pages 91~107
For the purpose of this study is the re-searcher investigated the concept and background of kitsch and the character of Kitsch in the paintings with focus on the Surrealism and Pop Art. In this study it was focused that how the shapes and materials was expressed in the modern fashion. Surrealism in paintings is lead thoughts and art movement to humanism of be-having man and pursuit of mental sub-stance of human beings expressing un-conscious word and transforming image in new way by the methods Automatism and Depaysements. Pop Art in paintings is used to objects common and cheap in the popular con-sumer's society. That is to say Pop Art sublimated con-sumptional culture of mass as art. And this phenomenon is appeared in the modern fashion which have influencedon the shapes and materials in design. Kitsch's character was researched in terms of shapes materials in the modern fashion with focus on the Surrealism and Pop Art and their aspect are summarized as follows: 1. In he aspect of shapes it appears that the shapes in the modern fashion is that of play through the method distor-tion or modification of dress. It was un-derstood that the cause of the dreaming and fantasy in the childhood. In the aspect of materials it apepears that the materials in the modern fashion is that of exagerated-decoration through using of object which is various asses-sories flower doll etc. 2. In the aspect of shapes it appears that the shapes in the modern fashion is that of disharmoney disorder and unsuit-ableness. The major cause of that is be-cause of Antistandard fashion I the aspect of materials it appears that the materials in the modern fashion is that of sarcasm pleasantness. It was reviwed that the major cause of the wit or humor comes from the image of the masses makes use of such as plastic fun-ny picture can coin etc.
A Study on the Actual Conditions of Museum Environment for Old Textile Collections -Focused on university Museums-
Journal of the Korean Society of Costume, volume 34, 1997, Pages 109~120
The conservation of collections in muse-ums is an important aspect for our her-itage. The control of museum environment is a vital factor in the preservation of cool-lections. Inappropriate or fluctuating envi-ronmental conditions can cause irreparable damage to works of arts. In this research we investigated the ac-tual conditions of museum environment for old testiles using questionnaire and mea-sured dye fasing of old textiles on exhibi-tion for 2 months in a university museum the major results are as follows: 1. The control of temperature and rela-tive humidity is a vital factors I the preservation of old textiles in museum generally acceptable temperature and rel-ative humidity standards for old textiles are 18-23
and 50-65% R. H and light level for textiles on exhibition should be limited to 30-50 lux. 2, In university museums the limate control system in exhibition and storage area is in an early stage. Therefore to minimize the deterioration of old textiles the best method of controlling the envi-ronment is to have centralized climate control system in sorage area as well as in display area. 3. Conservator is needed to maintain collections scientifically. Only professional conservator by combining scientific tech-nical and artistic training has the exper-tise needed to maintain the physical in-tegrity of old textiles. In order to solve the inferior environment of museums the staff should recognize the importance of the condition of exhibition and storage. 4. Old textiles are susceptible to damage by light and associated heat. Dyed textiles which have been exhibited under the light without any UV filter were faded notice-ably within two months of exhibition. Light levels for textiles on exhibition should be limited to 30-50 lux. It is de-sirable to use special light source that can absorb UV. and UV filter is also recom-mended to reduce photodegradation of old textiles.
A Study of Cultural Symbol on Safavid Lampas
Journal of the Korean Society of Costume, volume 34, 1997, Pages 121~134
The purpose of this study is to research of cultural symbol on Safavid lampas in Persia. The results are as follows. A significant feature of continuous pat-terns in lampas is the use of the human figure and a signature of designer's name in the Islamic world. Motifs can be identi-fied as Safavid lampas by the style of motifs such as birds leaves trees flowers on a gold or silver namely metal back-groud. the result shows that cultural symbol on Safavid lampas is connected with islamic culture.
A Study on the Economic Performance of the Textile Industry for Korean traditional Clothes
Journal of the Korean Society of Costume, volume 34, 1997, Pages 135~150
The purpose of this study was to inves-tigate the economic performance of the textile industry for the Korean traditional clothes. The content of this paper had two pars; The first part was for the macroeconomic aspects such as location production employments and the produc-tion facilities of the textile industries. The second part was for the microeconomic aspects such as business type branding method fabric type R&D efforts sourc-ing and the distributional channel The major results were as follows: 1.) Most textile firms for the korean traditional clothes were located in Gongju for man-made fibers and in Jinju for silk fabrics. 2) The size of the textile industry in terms of the number of business produc-tion amount the number of employee de-creased during 1994 and 1995 due to the decreasing demand. 3) Over the half of the textile firms produced raw fabric products while only 20% of them were involved in additional dyeing and /or printing finish which re-sulted in low value added production 4) The R&D effort of the textile indus-try for the Korean traditional clothes was very low due to the market uncertainty lack of technological knowledge and most of all small size of the firms 5) Most raw materials for the textile in -dustry were imported with high(25%) tariff rates resulting in price increase and thus low competitiveness in the market. 6) The textile producers sole about the 70% of their products to the wholesalers while selling the rest to the retailers di-rectly. This showed the dual structure of the distribution channel in the textile products. These results suggested some implica-tions for the firms the policy makers and the researchers. The firms should develop new and improved products to increase and create consumer demand by intensive R&D efforts. The government policy ma-kers should give financial supports the firms with R&D investment and legal help such as lowing tariff rate for the raw ma-terials. The researchers from the academy could help the textile industry with the advanced technological knowledge and up-date information for the consumer fashion demand.
The Study on Pi in Chinese Costume
Journal of the Korean Society of Costume, volume 34, 1997, Pages 151~168
Pi was worn like a shawl or scarf in Western costume In a broad sense it means a skirt a towel a vest and a shawl However the subject of this study has limited a naarrow sense a long shawl Historically it appeared since Jin to Chung dynasty and had various names according to each dynasty Also Pi was changed its shape colour pat-terns and details with various names. Therefore the purpose of the study is to ana-lyze the formative characteristics of pi includ-ing how to wear it through Chinese history.
A Study on the Costume of Khotan
Journal of the Korean Society of Costume, volume 34, 1997, Pages 169~182
Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.
The relationships of body-cathexis to satisfaction with ready-to-wear
Journal of the Korean Society of Costume, volume 34, 1997, Pages 183~193
A Study on the Apparels of Shamanism during Cho Sun Dynasty
Journal of the Korean Society of Costume, volume 34, 1997, Pages 195~208
1) The color of JOGORI and CHIMA was such gorgeous and those garments were put on during the events of GAM-EUNG-CHUNG-BAI HO-GU-GEO-RI JO-SANG-GEO-RI DEWT-JUN and CHAN-BOO-GEO-RI. 2)BULSA-JANG-SAM(JE-SUK-GEO-RI) was white colored and had wide sleeves putting on a pink priestrobe and a pink belt on it 3) they put on HONG-CHUL-NIK(GU-REUNG) and CHONG-CHUL-NIK(DAE-GEO-RI). 4)They put on GOO-GUN-BOK(JUN-RIP JUN-BOK(BYUL-SUNG-GEO-RI) DONG-DA-RI(Expel the de-mon) 5) MONG-DOO-RI(MAN-SIN-MAL-BYUNG) put on the garment con-struct-ed with the color and from of a w- hite straight collar a wide sleeve and a pink belt 6) A long robe was colored with green (GAM-EUNG-CHUNG-BAI) and was used not as a headdress but as a man's overcoat. 7) CHANG-EUI was a green colored small CHAHG-EUI(SUNG-JO-GEO-RI). As observed above the Shaman apprel during Chosun Dynasty is a part of the traditional clothing originated from THE THEORY OF THE COSMIC DUAL FORCES and THEORY OF THE COSMIC DUAL FORCES and the FIVE ELEMENTS (i.e. metal wood water fire and earth) It's basic form and wearing method were not so different from the traditional clothing silmilar to the official uniform dur-ing Chosun Dynasty and the official uni-form was the symbol of authority(almost almighty) at that time of period and to that the Shaman apparel was co-nstructed with the more gorgeous colors to empha-size the sanctity or the descent of the Divine Being from heaven. We realized that a Shaman had put on the symbolic garment suitable for the grade and nature of the Divine Body at every events to enter into " The World of Gods"Gods"quot;
The application of Catholic Ceremonial Clothes to Modern Fashion Design
Journal of the Korean Society of Costume, volume 34, 1997, Pages 209~223
Religion has originated with mankind has developed with mankind and the ap-pearance of Christianity has made a greater contribution to forming the basis of European civilization than any other event. In the Middle Ages in succession to the Roman Ages the foundation of society was so laid centering around Christianity that the garments of religion leaders had greatly affected clothes of the common people as well as political economy. In this view-point it has an educational significance to study vestment of the time when Christianity was prevailing value of society. Thefore this study has tried to examine Catholic ceremonial clothes revolving around the Middle Ages when Christianity had been propagated and it has treated of the clothes of Catholic to have produced a great effect on the culture of the Middle Ages, The method of this study was to inquire into the definition and history of Catholic clothes through the first data of the real-thing data from the museums and the sec-ond of the literature data and photo sam-ples that show the application of above said elements to modern fashion. Results are eight pieces of work: four pieces of Computer Simulation and four pieces of the real-thing production to represent the image found in Catholic ceremonial clothes. The results of the study are as follows. First it has been elicited to be able to satisfy the costume aeshtics that modern society requires introducing brilliance and esthetic elements for these patterns to have by applying the ones expressed in the cere-monial clothes. Second it has been found to be able to make a fashion design with the modern style supported by history by making a proper mixture of the simple silhouette and a luxurious decoration shown in Catholic ceremonial clothes. Third it has been presented to be able to serve in the worldly area if even a religious motive get out of in the area of a solemn image and it is applied to a modern fash-ion.