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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 50, Issue 8 - Dec 2000
Volume 50, Issue 7 - Nov 2000
Volume 50, Issue 6 - Sep 2000
Volume 50, Issue 5 - Aug 2000
Volume 50, Issue 4 - Jul 2000
Volume 50, Issue 3 - May 2000
Volume 50, Issue 2 - Mar 2000
Volume 50 - Jan 2000
Selecting the target year
A Study on Woosu Theory of Tasan Chung, Yak-yong
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 5~13
Woosu is the last process in the preparation of the deceased for burial. There are tow hypotheses on the purpose of Woosu. One is that it is to cover hands. The other is that it connects both arms of th body. The pattern of Woosu is 1 cheok 2 chon in length and 5 chon in width. The length is divided intc 3 parts equally with 4 chon. And then, it will be cutted 1 chon both sides of the middle part in Woosu. So, the width of middle part become 3 chon. Regarding the string used in soosu, two applications have been hypothesised . One is that each string is at both sides, the other is that each string ist at 4 edge respectively. Also there are two hypotheses about number of strings in Woosu. One is that total number of Woosu is one. The other is that the total number of Woosu is two. During the period of the Chosun dynasty, it is acknowledged that Sagye Kim, Jang-Saeng insisted that string of woosu is at one by one at both arms and hands respectively to be useful to cover hands of the body. But again the great scholar Tasan Chung, Yak-young pointed out that there are some problems on the explanatory notes and annotations of Sasangrye which ar quoted by Sagye Kim. Jang-Saeng. He insisted that the purpose of Woosu is to connect both arms using one string. Therefore, I will explain the intrinsic nature of Woosu by researching Tasan Chung , Yak-yong's Woosu theory.
Sports Look Expressed in 20th Century Fashion
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 15~28
This paper focuses on the sports look expressed in 20th century fashion. It is Age of Sport just as rock'n roll became dominant cultural form of the 1960's and 1970's . In the 1990's the sportsware is fashion. Designers gazing into the future are inspired by the details and functionality of clothing for snow boarding , skiing , motorbike racing and fitness. No doubt fashion in 2000 will also be full of references to it. Since the late 1960's the sportswear that was originally a term for clothing worn for various sports activities in the 1890's has changed and is now considered as fashion for day as well as evening. This has occurred primarily in the U.S. due to the adoption of less formal lifestyles by Americans. while the sportwear is the term which stemmed from the need for functionality in sports, sports look is the style inspired by the formative elements, that is, the details, the shilhouette, and the colors of the sportswear. New technologies for sports, the powerful influence of youthful culture, and the celebritizations of the sports stars made the sports look much hipper and more popular. It can be categoried into three aesthetic values, I. e., the functional sports look,, purism and no useless ornament, the street sports look with fun, androgynous and unisex mode and the mix and match of different texture and colors, and the futuristic sports look with new high tech fabrics and avant-garde style.
A Study on the Forecasting of Import Demands for Textile, Textile Products & Clothing Products
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 29~45
The object of this study is to predict the import demands for korean textile, textile products and clothing products. The analyzing method performs through demand prediction method is by using Exponential Smoothing Model and STATGRAPHICS. The result from the practice of study is as follows ; Textile import ratio is expected to be increased constantly and the portion of textile import in our national total import is precited to reach to 3.92% in 2003. The import of the textile product to textile will be increased to 33.12% in 2003. The import ratio of clothing product ratio is also estimated to increase annually, Import ratio of clothing-product in textile-product import reaching to total 6.42% (83.89% in 2000, 90.31% in 2003), the growth rate of clothing import will be much higher than that of clothing export. From 2000 to 2003 , textile import is precited to be 5.23%. The import of the textile product will be increased by 8.04%. The import of clothing product will reaches 11.21%, which would be the highest rate among the products under review. Also , it predicts the constant increase as a result of prediction in the nation's total amount of import including the import amount of textile, textile-product, and clothing product.
A Study on the Costume as a Means of Communication(I)-With Special Reference to Gandhi's Costume-Wearing Acitvity
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 47~58
This paper examines how costume, as a means of communication, acts on an individual a society, and a nation by analyzing especially the costume-wearing activities of Gandhi, an Indian national leader, in the nineteenth-century India colonized by Britain. The results are as follows. 1. Change of costume in Gandhi's case corresponds with mental change. 2. Gandhi's costume-wearing activities show his social status. 3. Gandhi's costume acts as a means of communication ; it manipulates and rules social events, transforming social -political identities. Thus, costume has a close relation to man's life. And it is an important means of communication influencing man and man's environments.
A Study on the Aesthetic Characteristics of Plastic Art And Christian Dior Fashion after World War II.
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 59~80
In February 1947, Christian Dior startled the world with his spring collection. He transformed the unflattering square shouldered outline of women's wartime fashion overnight. It was not only fashion that made a pivotal point for opulence and elegance, The style of architecture, furniture, glass, and silverware also made a radical change. The new style emerged after war called " organic modernism'. This study is to define the visual characteristics of fashion, architecture, furniture and craft after World War II and examine the social factors and aesthetics that generated a new style. The common asthetic characteristics are freedom, abstraction of symbolic from, asymmetry, and exaggeration of form. The social factors, values and aesthetics are economic reconstruction and renaissance of design , technical development and new materials, fredom and optimistic view after the holocaust of war, and organic aesthetics and humanism.
A Study on the Students Perception of curriculum in Clothing and Textile Studies: - Based on the sample of undengraduate and postgraduate students -
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 81~95
The aim of this study is to find out the way the future curriculum of clothing and textile studies should be composed. For this purpose, this study examines the perception of students as consumer of university teaching. For students, who are studying in the department of clothing and textiles, have academic and practical interest in this area. But they also anticipate the demand of clothing and textile market in the future in which they will work. The sample of survey research was 607 students of 20 universities. First, this study asked the students what are important areas of study at present. Majority of student answered that clothing construction and fashion design are the most important ares of clothing and textile studies. This perception of the students seems to reflect the fact that most university departments have placed importance on such subjects. Secondly, students think that fashion marketing and fashion have placed importance on such subjects . Secondly , students think that fashion marketing and fashion design should be emphasised in the future. This finding is consistent with the current trend in the fashion industry which has gone beyond simple clothing construction to fashion design and marketing which yield higher profit than clothing construction. Although there are many other factors which should be considered in the composition of future curriculum, this study shows that fashion marketing and design should be at the core of university teaching in department of clothing and textile studies.
A Study on the Application of 3D Digital Animation Model for Fashion Design I
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 97~109
The purpose of this study is to apply 3D computer graphics in fashion design as a creative medium and it attempts to fine out what advantages 3D technique can offer to fashion design. For this purpose, this study, first, tries to develop a 3D digital model in which designer can select design, color , pattern and fabric palette whatever necessary . This study uses of the software named 'Poser of Fractal Design' and the and the 3D digital model comprises four stages ; body modeling, item design (item coordination), color design (color coordination), pattern and fabric design (pattern and fabric coordination). Secondly, this study seeks to accumulate a data base which was produced in the course of case studies, which have applied 3D digital model to design. The outcome of the case studies shows that 3D digital model can enhance designing in the following four aspects. ⅰ) It can give more freedom to designer to try various ideas, revise and modify them, It can also produce random generation. Through this process, the designer test various input and output without damage on fabric after revision and alteration. ⅱ) It can help designers to enhance their accuracy. Since fault in the design developed by the 3D digital model can be detected in advance, designers can make correlation before actual work begins. In the end, designers can express their ideas and intention accurately as well as freely. ⅲ) Since design developed by the 3D digital model can be shared on screen by various actors in the course of priduction such designers , merchandisers, and supervisors, it can help communication between and cut the time of feedback.ⅳ) By using the 3D digital model, designers can work from the begining with awareness of actual outcome their design, since the 3D digital model provide animation, which helps designers to envisage visual changes as they apply various items, colors, pattern and fabrics.
Image of Transparency expressed in Dress
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 111~123
This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.
A Study on Chima and Jeogori for Women appeared in Genre Pciture of Late Chosun Dynasty
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 125~140
The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.
A Study on the Development of Scottish Highland Dress
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 141~149
The origin and developing process of Highland Dress as a Scottish national dress has been discussed in this study. Parameters affecting transformation process of Highland Dress from regional to national dress over the modernization period during 19 C was analyzed and compared by sociological aspect. Anthony Giddenss social change was applied and divided into three main factors such as political , economic and cultural analysis. The basic requirement of the theory of social change is visual recognization of any cultural changes. Highland Dress as a Scottish national dress has established during modernization in Europe within short period(18C -early 20C) and the Highland tartan as a military dress was transformed to be a civilian dress during 19-20 C. It shows social changes affecting on costume pattern and eventually costume in particular time could be an indicator of social changed. Throughout the study of the functional role of costume in Scotland is able to clarify the understanding of acculturation phenomenon through cultural, political and economic changes.
The Relationships Between the Clothes Self-image and Clothes Design Preferences of Elderly Women
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 151~165
This study was to find out clothing design preferences, according to the clothing self-image of elderly women and to grasp the variety on clothing of elderly women and thereby to help in merchandise production planning and putting the brands into markets and to provide data for establishing a sales strategy a d to itemize women with the goods which can satisfy the desire and taste of consumer groups in the quality market. For this purpose , various researches as above were conducted .The object of this study was a total of 488 elderly women above full 55 from an elderly women and who lived in downtown Pusan. The data were analysed by using MANOVA, ANOVA , factors analysis and frequency analysis, and the Cronbach α was also applied . The conclusions made based on the theoretical background and the result of questionnaire surveys are as follows ; 1. The realistic self-image of clothing showed a similar pattern by age. 50's and 60's showed little difference by item but 70's was greater in variation between items compared to 60's. The response to each item was that most people answered "common" and they showed a pattern that responded low only in items of 'colorful' , individualistic', 'susceptible to fashion'. A similar pattern was shown by age band also in the ideal self-image and the response to each item appeared higher than in the realistic self-image , and also in items of 'colorful', 'individualistic ' , 'susceptible to fashion' the response appeared low and showed a unity. 2. The results of clothing design preferences examined on the self-image according to age are as follows ; 1) Fro jacket in the realistic self-image , 50's and 60's preferred 'tailed collar' , 'set-in sleeve', 'hips long' and 'plain jacket' and 70's agreed to the design preferences in the items except 'open collar' and also in the idealistic self-image , the degree of preference was same. 2) For skirt in the realistic self-image , 50's and 60's preferred 'tight skirt', 'normal length' , 'plain skirt' and it was appeared that 70's preferred 'pleat skirt' , 'medium length' , 'plain skirt'. Also in the idealistic self-image , the degree of preference was same. 3) For blouse in the realistic self-image, 50's preferred 'open collar', 'round neck line' , 'long set-in sleeve' , 'plain separation belt', 'open front', 'zipper' ad 60's agreed to the favorite designs with 50's except puff sleeve, and 70's appeared to prefer fastening buttons without belt. In the designs preferred in the idealistic self-image, 50's agreed with 50's of the realistic self-image and for 60's , the designs except puff sleeve type and no belt type agreed to 50's and 70's except puff sleeve agreed with 70's of the realistic self-image in their design preferences.
The Art Nouveau Fashion in Modern Fashioni Trend
Journal of the Korean Society of Costume, volume 50, issue 2, 2000, Pages 167~182
The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.