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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 Symbolic Significance of the Jaesuk -kori Shaman's Custom
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 5~12
Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.
A Study on Deformation Dipicted on Western Costumes of the Late 20th Century
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 13~30
The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.
A Study of the Whakwan
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 31~42
This study investigated the history of whakwan (crown, 화관(花冠)) and classified the types of whakwan accordint to its structure. Whakwan seemed to originate from the custome of sticking flowers in the hair which was the reflection of human desire of pursuing the beauty . The whakwan fist appeared in the Oriental painting during the Tang period and became fashionable is Song. It is not clear when whakwan was introduced into Korea, but is assumed to be greatly influenced by the Song whakwan. The Korean record on whakwan showed on whakwan showed fro the fist time in the reign of Kimg Sejong and whakwan was used for the costume of a dancing boy. Through the present type of whakwan appeared only one in the painting of the reign of King Seonjo, there are a number of whakwans in the lattern part of the Chosun dynasty, Now there exist three types of whakwan in Korea. The first type is similar to that of Chokduri in decoration . But it was made of paper, had the double structures of inner and outer part and was decorated by Yangkwan's vertical lines of gilt paper. The second type is the whakwan made of artifical flowers with various color cords and was widely used in Geesung and Pyungyang regions. Finally, though the third type is similar to Sabangkwan, its outside was decorated gaudilly iby Dangchae (colorful painting ) and it was assumed that dancing bodys put it on their head for various banquets. Out of these three types, the first is most representative , Black was the popularly used color for the first type and this type was used either for brides on wedding ceremonies or for shamans or palace dancers. The second type was widely used in Gaesung and Pyungyang regions. But the differences in the shape of whakwan of the two regions showed the regional characteristics of traditional costumes in Korea. The third type was most likely to be used in the dance for palace banquets, but it is necessary to further investigate whether shamans actually wore this type of whakwan.
A Study on the Costumes of Two Women Statuettes Made with Three Colored Ceramic Parhae Dynasty, Excavated from a Tomb in Shiguo(석국)
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 43~58
This study is an analysis on the costumes of two statuettes of standing women made with three colored cermai excavated from Parhae tomb in Shiguo(석국), Chilin province(길림성), China. These statuettes wear similar clothing ; A narrow sleeved under-blouse with a decollette neckline and a long skirt tied above the bosom. But their hairstyles are quite different ; one has a bun top of the head which tipped slightly forward. the other has two buns with two loops near ears. Their shoes are a little different: in the former the top of the shoes are a little crooked, but in the latter they are high-fronted and more crooked. These two statueettes are valueable and unique source which demonstrates the female costumes of Parhae dynasty, and at the same time which accounts for the acceptance and assimilation of costumes of Tang dynasty. Base upon the analysis on their costumes, hairstyles , and their expressions of the body shape, two statuettes seem to be made after the early 8th century.
Ch'ing Dragon Robes
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 59~72
Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.
Wearing Test of Brassiere for Girls
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 73~86
This study is to develop the well-fit brassieres by wearing test of available brassieres for girls . The 11 elementary school girls aged 12 participated in the wearing test. The test procedure consisted of a rating on fit and performance according to brassiere types, a try on test of 3 types of brassiere and a sensory test on fit. The results of this study are as follows ; 1. The results of fit rating on different brassieres. Compared among brassiere types, tank top type proved the most effective, from a viewpoint of wearing effects. All types of brassiere performed well in bust up effect. Especially tank top type brassiere showed the best of them. 2. The results of the sensory test and comparative test. With regard to wear comfort, most of the subject assessed tank top brassiere to be the most comfortable . As for freedom of movement, it is disclosed that the subjects prefer tank top brassiere. As a result, brassiere for girls strongly require size adjustment, physical and psychological comfort through full overage of breast area.
A Study on the Development of Ready-to-wear Garment Size for their Early 20's by Body type and Basic Blocks for Women's Dress
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 87~104
The women's apparel sizing system, currently used in the Korean industry, does not reflect measurement differences associated with varying body types and age. Forty five body meaqsurements were taken on 560 subjects, whoes eages ranged from 18-24. STatistical analysis of the data was coducted by using frequences, crosstables, correlation, oneway ANOVA, Regressio analysis. The results of this study were as follow. 1. Average height of women in their early 20's is 160cm, average bust girth 82cm, average hip girth 90cm and average drop 809. The correlation between height and grth items were low and the correlation of length items in the superior and inferior body were shown to bo high respectively. 2. The average Rhrer index is 1.28 and they ussually seem to be in the thin and standard body group. 3. body types were divided by differences between hip and bust sizes. N type(medium hip), A type (large hip), H type(small hip). A classification by body type showed that N type made up 58% while a type made up 24%. 4. The garment sizes for women in their early 20's were developed. 5. The new basic blocks and garment sizes for women in their early 20's were developed as follows : Bust girth (1/2) = 76N, 76A, 79A type(
B+ 4cm) 79N type(
B+ 3.5cm) 82N, 85N type (
B +3cm) Hip girth(
) =N type(
H + 2~2.5cm) Atype(
H +1.5~2cm) Waist girth(
W + 2-3cm Back length =extimated measure -0.5cm Front length=76A, N (Back length + 2.2cm) 79A, N(back length +2.7cm) 82N(Back length +3.2cm) 85N(Back length + 3.7cm) Sleeve length=Sleeve length +3cm.
A Study of Falklore on Wedding Costumes and Wedding Practices in Chunchung District in the Middle of 20th Century
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 105~116
In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.
A Study on the Image of Film Fashion in 1990 Focused on Relation of Fashion and Film Industry
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 117~131
The purpose of this study is for affirmation about fashion and film industry has very important relationship through the image of film fashion in 1990. To this processing , films in 1990 were analyzed by the back ground, time place, persons's status are expressed in period movie but the person's characters, development of story mood in contemporary movies. The contents of this study are as follows : First, film fashion which was related mass fashion design and concept development and fashion designers as constume services were considered. Second, the change of star image through the 20th century. The roles and new image of film fashion in period movies and contemporary movies in 1990 were searched. Third, proposal and results were confirmed for expansion of fashion industry and film industry together. Finally, from the latter of 20th century, a lot of fashion designers have participated in film works than before, So the images of films were sued and reflected as new mass trend . Especially retro-romantic mood was expressed in fashion trend due to period movie fashion. Also minimal city look and elegance glamourous look are represented cause of contemporary movie fashion. Therefore, the cooperation between film productions and fashion professionals is very important for promotion of Korean culture development in 21st century, 'the century of image'.
A Study on the Design of Reggae Fashion
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 133~144
The purpose of this study is to examine a distinctive feature and meaning of Reggae fashion and to establish a form of design on the basis of the Reggae style appeared in the 1990s. For the study, we review a formative background and stream of the Reggae fashion. And then, characteristics of the Reggae fashion is clarified through analyzing street fashion and High-fashion. The result of the analysis demonstrates that the Reggae fashion as a general term of the fashion style is connected to the Reggae musci emerged from Such socio-cultural changes as the tendency of the anti-fashion , the influence of the Afro-fashion , and the popularity of the Reggae music. The reggae fashion has been altered in terms of its style with the lapse of time-Rastafaran style, Raggnuffins and Bhangra style, Hip-hop Reggae style. The Reggae fashion emerged in the 1990s falls into three styles ; Afro-Reggae style, Feminine Reggae style, and Sporty Reggae style. The above mentioned results demonstrate that the design of Reggae fashion targets fro a youth in one's early 20s following a tendency in the 1990s and the 2000s. The design concept represents Romantic Reggae.
A Study on the Presen Condition of Reformed Korean Traditional Clothing and a Scheme for High Quality
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 145~159
The first introduction of reformed Korean traditional cloth in was started in the age of civilization and until liberation from imperialism it was made a reformation in faculty from Korean traditional clothing. And by 1980s western style costume took lead but after Asian Game in 1986 and Seoul Olympic in 1988 Korean traditional beauty was added to costume and there were various attempt to produce truly reformed Korean traditional clothing. The present condition of reformed Korean traditional clothing in 1990s are like this : 1) Most of reformed Korean traditional clothing ships could not fractionalize customers. So it needs to subdivide and specialize customer and investment to improvement of design. 2) A large percentage of reformed Korean traditional clothing is ordinary dresses. So it should develop various sorts and color, design and textile and be in harmony with international trend. 3) Most of shops handled a coordinate goods like a bag and shoes. 4) In the investigation customers they wanted various colors, high quality in design , logical price and a periodical sale. So four pieces of the reformed Korean traditional costumes were designed and produced based on the present condition.
A Study on Creative Strategy Related to Expression Advertisement for Missy Brand- Focused on ELLe's Advertisement
Journal of the Korean Society of Costume, volume 50, issue 3, 2000, Pages 161~178
This study intended to provide the visual basic data of efficient fashion advertising for Missy Brands in the 21 th by investigating and analyzing the creative strategy related to expression of fashion advertisement. The Research methdologies were as follow. First, the change of domestic advertising industry, theoretical background of the creative strategy and the condition and problems in the domestic Missy market were studied through the relevant fashion advertisement and periodical publications. Second, the content analysis was done using the advertisement of Missy Brands in Fashion magazine, " ELLE" which were published from 1992 to 1998. (3/6/9/12). The results were summarized as follows: First, the ELLE's analysis results were to increase in number of the advertisements for the teenager Brand fro 1993 and for the I.B.(Imported Brand) or L.B(License Brand) from 1995. As a result of the analyses, we suppose that a number of advertisements are proportional related to the sales of Brands. Second, the re were significant differences between D.B. (Domestic Brand) and I.B(Imported Brand) or L.B.(License Brand ) in the change of creative strategy for Missy Brands advertisements. The creative strategy of D.B. ads was used more importantly in linsuistic message than in visual message. On the contrary, the creative strategy of I.B.(L.B) ads, attached importance to the visual message(photo). Third, the ads of TIME showed ads, effect to have relevance to sales. The creative strategy of TIME ads. appeals to consumer for consistent Brand image, at the same time reflects the distinctive Brand image from the other. This study was suggested the creative strategy change of TIME through the visual data base.data base.