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REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
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Journal of the Korean Society of Costume
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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
The Study on living Art and Costumes Culture of the Middle-Age Europe
Journal of the Korean Society of Costume, volume 35, 1997, Pages 17~44
Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.
A Study on the Kaftan Style in Asia
Journal of the Korean Society of Costume, volume 35, 1997, Pages 45~66
This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.
A Study on woman's hair fashions of Tang and Song Dynasty
Journal of the Korean Society of Costume, volume 35, 1997, Pages 67~89
During thousands of years the people of china have not only created the brilliant cul-ture with a world reputation but also brought about an abundant treasury of paramountly beautiful hairdo fashions beyond comparison. Hair styles are an important symbol of the ma-terial and cultural civilization of a certain his-torical period. In Dang Dynasty the country was unified the economy was properous and the political situation was relatively stable. These spelt the solid foundation on which the rich and colourful varieties in the hair styles of women emerged. The numerous hair fashions in Tang Dynasty woman folk could be summed up into three catagories-high bun hanging bun and flat bun. Of course like the garments hair fashions are also the marks for the social status of the women in the feudal society. The hairstyle of the women of the Song Dynasty still followed the fashion of the later period of the Tang Dynasty the high bun be-ing the favoured style. To dress this type of high bun switches were generally used sometimes fashioned in to switch buns of various shapes coiled directly on top of the head. Women from rich families however usually had hairpins and combs made into the shape of flowers birds phoenixes of butterflies to be pinned on top of the buns.
A study on the Color and Shape as Shown in Traditional Childrens Wear
Journal of the Korean Society of Costume, volume 35, 1997, Pages 91~109
This study was conducted to find a more rational way of inheriting and developing tra-ditional Korean HanBok children wear by means of looking at the color and shapes of traditional Korean HanBok and also to find a way to apply this to today's children HanBok wear. The process taken was first to study re-lated literature and its theories and to research museums to find what few traditional HanBok there are and then to compare these findings with new books and personal pieces kept by individuals. We also compared with HanBok children wear now sold at markets. The results of these findings show the fol-lowing conclusions and recommendations: We have found that modern children HanBok utilized the same yellow blouse and red skirt combination as before. These nearly in all cases represented the colors for girls. To most koreans these combination colors are a representation of traditional children wear nat-urally accepted by most koreans without any resistance. Also a definite relation with tra-ditional and modern children wear in the sense of color and shape wear hard to substantiate but we could find harmony between the two. In other words a mixture of modern shapes and traditional colors could be found or vice versa. This is an important factor to be con-sidered when trying to inherit traditional hanBok cuture. Modern times has seen great change in lifestyle feelings and social environ-ment,. In order to create harmony between tra-dition and present day customs a certain mix-ture is required. Therefore we need to maximize traditional flavor and design with present day design emotions. Another issue is that right now children hanBok is only being utilized on a restricted scale. It is a shame that in today's children HanBok that added to the skirt pants and overall wear that the head wear purse and other accessories are not being used. There-fore the HanBok culture especially for the correct succession of children hanBok must refrain from such restricted use of accessories and work to advertise the widespread use of proper Hanbok wear thereby upholding the rightful use of HanBok. As I have mentioned in my other studies it is ones momory of early HanBok wear which greatly affects a grown-up so we should wear hanBok in the right way from an early age and become accustome to its shapes and colors thereby become friendly with traditional HanBok wear. This I believe will lead to overcoming prejudice and disapproval of hanBok and to a more affirm-ative view towards our cultural heritage, Looking from a design point of view inter-national design of a nation's traditional wear can only come from a correct understanding of ones traditions this then becoming a foun-dation for creative design. Seen from these aspects a re-cretion through the meaningful activities of studying traditional shapes and colors of hanBok is the beat way to forming a true HanBok tradition.
A Study on the Cross-Dressing
Journal of the Korean Society of Costume, volume 35, 1997, Pages 111~134
The purpose of this paper is to examine into the cross-dressing. Cross-dressing means 'dress-ing in clothes of the opposite sex' which has increased under the contemporary conditions. There also have been various cross-dressing phenomena in past but it appears strongly now that it would destroy the cultural stereo-types and give rise to the cultural insecurities in the contemporary conditions,. In this paper the author classified cross-dressing with the oppositional cross-dressing the perverted cross-dressing and the custom-ary cross-dressing. And the results are as follows 1. The oppositional cross-dressing has increased under the influence of feminism movements homosexual identities and subcul-tural identities. 2. The perverted cross-dressing has ap-peared in various social cultural contexts that is in the regional theratrical and the religious habits. Cross-dressers have used the clothes as an instrument for which the solve the contradic-tion between sex and gender role. And through the cross-dressing phenomena we can find all the category crises which are related with sex and gender but simultaneously we can search for all the possibilities through the open thought.
A Study on the Footwear Culture of northeast Asia -Focusing of on wha, hye, lee-
Journal of the Korean Society of Costume, volume 35, 1997, Pages 135~149
In this thesis the northeast Asian footwear culture are examined,. in order to search the origin It started from the cradle of ancient civilization such as Meospotamia Egypt Indus and ancient China civilization region prior to the northeast Asia. The results are: On account severe intense climates and rough road as well ancient people starts to put the shoes on. Primitive form of ancient footwear put into the two categories: Chinese in the central land begins to put the shoes named Lee. After making contact with nomadic northern races boots named Wha is adopted functionally and taken throughout China. oreans wear the shoes both boots and shoes named Lee. Japanese walked with bare feet and simul-taneously Dagetta was used for rice farming. The changes of footwear is mainly in-fluenced by the factors such as climate con-dition social economic prohibition func-tional elements and aesthetic standards. Cli-mate conditions have influence upon the footwear materials form and foot exposure, The functional elements influenced on the ways of wearing shoes. Decorated patterns and materials of footwear is under the influnece of social economic prohibition and also affected by aesthetic standards(Tab 1-4) In accordance with pattern function materials of footwear the type and characteristics of footwear in China Korea nd japan came out with diversity(Tab 5-9)
Utiliation of Internet and Electronic Commerce in Apparel Industry
Journal of the Korean Society of Costume, volume 35, 1997, Pages 151~166
Firms' utilization of internet is completely changing their business environment. Apparel firms' without exception are using internet as their essential marketing mechanism and as a new media for educating customers. Some ap-parel firms' at the same time acquire valu-able customer information from internet users. These business cases become evident in devel-oped countries. in contrast most domestic ap-pstrl firms' are unable to see the strategic im-portance of internet. Accordingly their level of internet utilization remains quite low. This paper describes apparel firms' use of internet as electronic commerce mechanism based on cases of pioneering apparel firms' which adopted internet technologies in the first place. We further discuss problems that these
A Study on Clothing Satisfaction of the Ready to Wear Garment for Women - focused on over 165cm in height-
Journal of the Korean Society of Costume, volume 35, 1997, Pages 167~180
The purpose of this study was to find out some of the problems consumers have with ready to wear garments sizing and clothing satisfaction the following women's garments; sweaters T-shirts blouses jackets pants skirts one-piece jumpers and burberry(coats). For this study questionnaires were admini-stered to female students in community col-lege. Employing a sample of 166 students data were analyzed by Frequencies X2-test t-test ANOVA Factor Analysis and Regression. Major results of this study were summerized as follows: 1) Purchasing clothing subjects considered mainly bust circumference for T-shirts and blouse shoulder width for jackets and jum-pers hip circumference for pants and skirts and length for sweaters(knit) one-piece and burberry(coats) as a reference of fitting sites. 2) In relation with dissatisfaction with ap-parel fit hip circumference of pants including jeans was found as the most unsatisfactory site. Besides subjects were dissatisfied with skirts sweaters one-piece jackets blouses burberry(coats) jumpers T-shirts in order. In relateion with height and body type were most dissatisfied with pants(jeans) 3) Factors related to clothing deprivation of ready-to-wear garment were identified as aethetics elements practical elements econ-omic elements and fittness elements. Fittness elements were most dissatisfied factors with all items of garments except for skirts
A Study on Bedclothes Design Preferences and Purchase Motives
Journal of the Korean Society of Costume, volume 35, 1997, Pages 181~193
The objectives of this study were to classify bedclothes purchase motives and to examine how bedclothes purchase mo-tives and design preferences very accord-ing to age and income. Samples were 217 housewives residing in metropolitan area. Questionnaire included 17 Likert type items of bedclothes pur-chase motive measure 12 items of color preference 7 items of pattern (floral geo-metric abstract stripe plaid polka dot, and paisley pattern). The results of the study were as fol-lows. 1. 5 factors of bedclothes purchase mo-tives were derived by factor analysis ; F .1 'design': F 2. "brand' ; F.3. 'deficiency'; F. 4. 'fabric' F.5. 'economical reason' 2. Subjects perceived design and utility area to be important motives for bed-clothes purchase. 3. Cholor preference of bedclothes was in the order of white pale blue pale green and pale orange. Pattern preference was in the order of stripe plaid solid color floral and polka dot pattern. The combi-nation of patterned fabric and solid color fabric was liked better than the combina-tion of analogic color and the combination of contrasting color. 4. The women in their 20's liked navy blue red stripe plaid pattern and solied color better than 30's and 40's . 40's liked abstract and paisley pattern better then 20's and 30's 5. Low income group lied navy blue and solid color fabric more than the mid-dle and high income group and liked ab-stract pattern less than the middle and high income group. 6. Women in their 20's perceived design to be important motive more than 30's and 40's. 30's perceived brand to be im-portant motive than 20's and 40's 7. High income group perceived design to be important motive more than the middle and low income group. Low in-come group perceived brand and fabric to be less important motives than the middle and high income group, The present findings provide that age and income had a significant effect on bedclothes purchase motives and design preferences of houesewives. The results that white color and the combination of patterned fabric and solid color fabric were liked best indicated that women prefered clean image and chacteristics de-sign of bdeclothes.
The Study on Symbolism of Color on Movie Clothing
Journal of the Korean Society of Costume, volume 35, 1997, Pages 195~210
Movie clothing is what is recreated as a character in work after being worn for actors (or actresses). And it is not added for heightening only fantasy but it acts for heightening only fantasy but it acts for reinforcing the side of character or subject. Especially the clothing in color movie gets to have very psychological effect. Thus Accord-ing to the clothing the effect of the represen-tation style may become large and small. So as to make the gesture or attitude of each character valuable in accordance with the ac-tion and expression of the figure clothing is different from other device essentially One may attain various goals through the color of movie clothing, First movie clothing may show the vogue color of the time and the representative time color, Second the color of movie clothing helps one to able to recognize the socio-econmic position of character easily as the color to symbolize the specific jobs such as nurse soldier and doctor etc. Third the color of movie clothing may show the charcter temperament as to whether one is young or old and whether one has pessi-mistic temperament or one is extrovert or introversive etc. easily. Fourth setting the clothing color of hero as the color to set off helps it easy to distinguish from representation staffs. Fifty the whole color establishment of movie clothing gives help to expressing the at-mosphere of movie. Color is one of the most powerful means that the person in charge of clothing may express the character of movie. He should ex-press the feature of a wearer with the colors of each clothing through showing the lack of taste of characters or hinting the resistant character with the clothing color which is not suitable for situation or the conservative character with suppressed color etc. Thus he (or she) should express the clothing color which is suitable for being able to express each character by analyzing the work whole through script and grasping the character of each character so as to establish the clothing which is suitable for individual character.
A Study of Feminism Expressed in postmodern Fashion
Journal of the Korean Society of Costume, volume 35, 1997, Pages 231~252
This thesis establishes two propositions. Firstly the pivotal aspect of postmodern fem-inism is socio-cultural ambivalence which is reflected in postmodern fashion as androgeny. By tracing postmodern element in fashion it is shown that postmodern cultural logic is operating sometimes in a vague weakened form Secondly the fact is taken into analysis that the postmodern discourse is conveyed in reality by the multinational firms which aims at profit maximisation with incessant change of image. In this process the postmodern message is almost removed of its contents only the outer form retained, The originality of the thesis lies mainly in the approach adopted. It combines cultural and socio-economic factors together as compared to the traditional approach which tends to relate a contemporary aesthetic trend mechaniclly to fashion phenomena.
The Consciousness of Korean Urban Women for Wearing han-Bok the Korean Tradition al Drss
Journal of the Korean Society of Costume, volume 35, 1997, Pages 253~264
Han-Bok presents a unique consumption ex-perience different from Western dress which is common to our clothing life. This study is intended to propose the necessity of broad-ening deepening and systematizing a research related to the social aspects of Han-bok. A questionnaire consisted of 10 statements of attitude to Han-Bok 7 statements of the evaluation of the occasional appropriateness of Han-Bok preference questions about style color harmony and decorative materials of han-Bok was developed which includes 5 opinion statement of the importance of tra-ditiona and some demographic variables. During December 1996 and January 1997 the women aged above 20 responded to it and finally 702 data was analyzed. Korean urban women have positive attitude to Han-Bok And the conceit about Han-Bok was significantly higher than the intention to wear it . The most properly evaluated occasion for wearing han-Bok was 'holdays' like Seolnal and chuseok Han-Bok was evaluated im-proper for casual wear and out wear. Factor analysis of 7 occasions determined 3 factors; traditional occasion special occasion and cas-ual occasion. It is needed to identify the ef-ficiency of Han-Bok according to each differ-ent occasion. Korean urban women preferred the style of traditional line soft color and modern har-mony. In a viewpoint of tradition they put more importance in the line of Han-Bok that they do in the color of it.
The study on the Costumes in Crown Prince Chac-Rac-Do-Gam Eui-gue(책체도감의궤) and Eigt Folding Screens for Chac Rae(책체)
Journal of the Korean Society of Costume, volume 35, 1997, Pages 265~279
Through eight folding screens for Chac Rae and ban Cha Do we have learned the costumes of people who participate in Chac Rae ceremonty being ac-companied by social positions. Firstly the costumes of crown prince can be classified in two parts. One is costumes of Chac Rae befor Kwan Rae the other is costumes of Chac Rae after Kwan Rae Also we know the costumes of Chac Rae before kwan Rae is consisted of SSangdonggae Gong-jungchak Chilchangbok Mean-while the crown prince wore Myunbok at chac rae after Kwan rae. Second Chakbongdo tell us vari-ous types of Youngbok by blue-black and red colored chulik Third we can see Uijangsu who wore Sangbok on Chakbongdo and know their brilliant costume colors on ban Cha Do through Hongmo on Chunguei Chungmo on honguei Hongmo on Honguei vi-olet-Lip on honguei mean-while Kyokun wears Hongmo on Honguei and hoimo on Hoiuei. Forth regarding the costume of Byulgam Chakbongdo appears Chogun on Hongpo belting blue belt wearing blackboots Meantime ban Cha Do shows Chogun on Hongpo wearing shoes. As reviewed above we know various color and types of costumes through Chakbongdo & Ban Cha Do on Crown prince Chacraedogam and would lide to deepen Chac Rae of crown prince including the costumes of Chac Rae of the crown princess the eldest son of the crown price the eldest brother of the king
A Study on the Tartan and Scotland Costume
Journal of the Korean Society of Costume, volume 35, 1997, Pages 281~292
Tatan is a symbol of kinship and belonging in Scotland and a badge of identity recognized all over the world. Alongside the powerful historical and national resonance to Tartan for Scots it has been borrowed repeatedly by fashion. The pattern compositionof Tartan check is formed as a typical cross stripes that vertical line and hrizontal line meets rectangulary. And its color is much various and rich than other check pattern. So its magnificient spec-tacle that various all kinds of colors is dyed in cloth is second to name. Today we are as likely to meet tartan in a couturier dress as in a kilt or plaid. Tartan is distinctive in colour style and de-sign. It conveys personality ceremony and drama. All these aspects of its character have contributed to tartan being one of the best-known and best-loved fabrics in the world. In other parts of Europe traditional checked patterns declined and disappeared but in Scotland tartan survived strongly jist as the bagpipes also European flourished Due to geographical and cultural circumstances Scots were able to develop and enhance tartan and its remarkable individuality ensured its sur-vival in spite of adverse political and economic pressures. Tartan has been adopted as the national dress of all Scots. Lowland and High-land providing a powerful form of national cultural and personal identity. Whether tra-ditional or a recent creation whether tra-ditional or a recent creation whether a symbol of nationality or a substitute for nationhood tartan is no mean achievement.
A Study on the Expression f Clothing and Textiles Recoreded in "Eigamonokatary"
Journal of the Korean Society of Costume, volume 35, 1997, Pages 293~304
This paper is a study on the expression of Clothing and Textiles recorded in
This book is a novel de-scribed the Royal Court from 883 till 1107. In this book many kinds of Garments Orna-ments Colors and Materials were mentioned. But in this paper 69 kinds of Garments and Ornaments were reserched and the rest will be reported in the next paper, The discoveries of this paper were as follows. 1. All the things of this book were reflections of the reality in Heian period. 2. The main styling of that period was a little bit soft but the straight silhouette were fashioned, . In that time Clothing had a special meaning and the manner for a fashion was very important, .3 In the female garments Karakoromo were developed many kinds of pattern by dyeing method, Especially the Surizome was fashioned very much. 4. there were many kinds of gray tone like as clerical robe and mouning dress. This was the effection of Buddism style. 5. The decoration of fablics and garments were usualized for instance smooding and luster by beating and starch sewuing a piece of gold silver and shell nakabe and knot bend. Shawl Yumaki and Kosizasi was a charming point of that time, . 6, hair decoration shose parasol rain coat etc, . were developed and use freuently.
The Effects of Face Types and A Detail of Clothes on Visual Evaluation
Mun, Nam-Won ;
Journal of the Korean Society of Costume, volume 35, 1997, Pages 305~324
The purpose of this study was to examine aesthetic effects of face type and necklines of one piece dress one of details in clothes on visual evaluation. For this study two set of stages were processed. At first stage data were collected from female college students in Kwang Ju.Chonnam. Subjects between the aged of 18-26 were took pictured of their faces then they were classified into 7 groups That is egg ob-long round square inverted triangle triangle and diamond shapes. At second stage two sets of experimental design were utilized based on the classified face types. A set of design was 5
4 design which involved 5 levels (egg oblong round inverted triangle and diamong shape) of face type and 4 levels(round boat vee and square neckline) of basic neckline. Another set of de-sign also was 5
4 design which involved 5 levels of face type and 4 levels of modified neckline. As experimental treatment the stimulus materials and questionnaires were employed. The qustionnaires were consisted of visual evaluations on the stimulus materials by using semantic differential scale,. The experiments were proceeded through 2 week by 30 subjects composed of gaduate students and staffs in some departments of Clothing and Textiles at college. Data were analyzed by Frequencies Mean Factor Analysis TTest ANOVA and Ducan's Multiple Range Test. The major results were as followed: 1. There were significant aesthetic effects of face type on visual evaluations, Especially egg and inverted triangle shape among the face types were evaluated more aesthetic than the other face shapes. 2. There were signifiant aesthetic effects of the neckline types on visual evaluations, Es-pecially vee neckline among necklines were more aesthetic than the other necklines,. 3. As compared with the basic neckline types and the modified neckline types the modified necklines were assessed more aes-thetically than the basic necklines. 4, The face type and he neckline type were influenced interactively on visual evauations Specifically it showed that oblong round and diamond shape of face type were matched to vee neckline more than the other necklines, Also it showed that the egg and inverted tri-angle shape wee matched to round vee and squre neckline more than boat neckline.
The Vogue about Outwearization of Underwear in a Tendency to the Century-end
Journal of the Korean Society of Costume, volume 35, 1997, Pages 325~341
One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.
A Study on the Daily Clothes of the Middle Years of the Chosun Dynasty - Based on the Excavated Costume -
Journal of the Korean Society of Costume, volume 35, 1997, Pages 343~366
Most of the recently-exhumed excavat-ed costume is the garment for the dead which is one of the costume of funeral rite Investigating the birth and death years of the dead reveals that the excavated cos-tume was mostly used in the 16th and 17th centuries, . The study on the change of clothes in-cludes two aspects; one is manifestication of the structure of clothes and the other is elucidation of the constructure of clothes through examining constructure compo-nents and constructure compo-nents and construction method. This study investigates the costume of the midddle years of the Chosun dynasty in these aspects by examining the excavated Costume of 16th and 17th centries and Ryesu. This study also aims to assist to comprehend the constructure of costume by comparing actual excavated clothes with chronological standards through in-specting diverse clothes in a specified pe-riod. The construction of the clothes of the middle years of the Chosun dynasty is different depending on the purpose of theclothes and the principle of sewing is set up on the bases of mentality and body That is the Costume stands for the individual social and men-tal world of the people at that time since the external construction of the clothes represents their social rank and the inter-nal construction of sewing symbolizes their mentality. The characteristics features of the clothes of the middle years of the Chosun dy-nasty coexistence of diverse sorts and patterns indicates a change in clothes. This suggests that the clothes of a partic-ular class last and change in role corre-sponding to formation lasting and extinc-tion of the class. Thus diversityof the sort of general costume advancement of pattern and the change of clothes de-pending on the change of the class signify that the middle years of the Chosun- dy nasty is a period in which the general costume is actively developed and a turn-ing point for transforming the traditional clothes into new ones, . In other words the middle years of the Chosun dynasty is characterized as an era during which a castume native to Korea is formed with respect to the structure and constructure of clothes.
의복에 나타난 민속성
Journal of the Korean Society of Costume, volume 35, 1997, Pages 367~370