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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
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Volume & Issues
Volume 54, Issue 8 - Dec 2004
Volume 54, Issue 7 - Nov 2004
Volume 54, Issue 6 - Oct 2004
Volume 54, Issue 5 - Aug 2004
Volume 54, Issue 4 - Jul 2004
Volume 54, Issue 3 - May 2004
Volume 54, Issue 2 - Mar 2004
Volume 54, Issue 1 - Jan 2004
Selecting the target year
The Characteristics of the Popular Culture Contemporary Fashion Shows -Focus on Pret-a-Porter Collections after the Mid of 1990s-
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 1~12
This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows The fashion show place expanded its area when It moved its center because of not only the use of ordinary and public friendly place but also adjacent places post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions. gesture and pose. etc of a model In addition. its performance element combines other genre freely to be one time and viewers＇ participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future Images. At sound tracks and sound effects, the show＇s overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones. who are isolated from recreation values and the society, establish friendly relations with the society
Regional Differences of Clothing Consumption Behavior in Korean Adolescents
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 13~25
The purpose of this study was to understand regional differences of clothing consumption behavior of Korean adolescents. Subjects were 624 male and female high school students in north and south to the Hangang river, Seoul, and those in Kunsan City, Jeonlabuk-Do. The clothing consumption orientation were classified 4 dimensions by factor analysis: brand orientation, others-sensitivity, impulse buying, and advertizement influence. Female students were significantly higher in brand orientation, others-sensitivity, and impulse buying than males. Students in the south Seoul are influenced more than the other two regions by brand orientation, others-sensitivity, and impulse buying. There were significant interaction effects in brand orientation and others sensitivity by sender and region. In the north Seoul students, males demonstrated less brand orientation than females. while south Seoul male students did high others-sensitivity tendency than male of the other regions. Males of north Seoul and Kunsan spent less expense for clothing, but south Seoul students equally in males and females spent the highest for clothing. About one-third of all adolescents had imitated appearance of an entertainer. mostly for hair-styles of them. Major commodities that teenagers purchased on impulse were shirts, pants, shoes, and bags. Since shoes prevailed among purchased famous brands, teenagers seem to be most interested in shoes as far as the brand was concerned in particular. In general, clear differences of gender and region were observed in clothing consumption behavior: male adolescents in the north Seoul and Kunsan City exhibited Passive clothing behavior, whereas south Seoul males and females showed active behavior and gender-equality.
A Study on the Ugliness Images Expressed in Modern Make-up -Focused on the Color Expressions-
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 27~39
Since around 1990. some experimental and shocking ugliness images have been expressed in Fashion and Make-up as well as Fine arts. The purpose of this study is to investigate the trends of ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the expressions through formative elements and to anticipate the prospect of Make-up in the future. Ugliness is the most negative aesthetic value which is lack of beauty. The 20 century art trends representing the ugly shape have been distorted or deformed or destroyed and extremely exaggerated with yellow, red, black, blue, white, green. The image and color of ugliness can be summarized as historical, avant-garde, decadence, de-constructive, humorous, futuristic trend and Most of colors are the achromatic ones like black, white, dark gray and red. blue, dark brown and so on. These colors cause some negative attributes such as fear. anger, death, devil, Pain, bad, ill omen, sorrow, despair and the like. At the turning Point in 21C are to be extended the range of color according to the experimental attempts such as informal, collage, graphic and the forth. Lastly, The characteristics of ugliness images expressed in the color of Modern Make-up have been analyzed into formlessness and inaccuracy and deformation by Karl Rosenkranz＇s theory.
Analysis of 20th Century＇s Makeup according to Aesthetic Categories -focusing on the Makeup of Film Actresses-
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 41~57
The purpose of this study was to analyze the 20th century＇s makeup according to aesthetic categories. On the basis of aesthetic theories, four category pairs were determined as inter-confronting aesthetic categories: beauty of utility vs. beauty of social aptness : beauty of decoration vs. beauty of construction : sublime vs. grace : classical beauty vs. romantic beauty. 20th century＇s makeup was analyzed at the interval of 10 years referring to the images of actresses in the films produced in Hollywood and European countries. It was identified that 20th century＇s makeup had changed from decorative and dramatic makeup to natural makeup as the century proceeded. Consequently, beauty of social aptness, beauty of decoration. sublime, and romantic beauty were emphasized in the early 1900s while beauty of utility. beauty of construction, grace, classical beauty were emphasized in the later 1900s. In the whole 20th century, grace is the most dominant beauty among eight aesthetic categories due to it connote femininity. As the variety of fashion increases. the makeup patterns has become more diversified in recent years.
The Study on the Tea Ceremony and the Costumes for the Tea Ceremony in Korea - Focusing on Royal Tea Ceremony -
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 59~70
Tea has influenced the basis of Korean culture in history for a long time. The dissertation aims to establish the history of the costumes for the tea ceremony based upon historical data. During Thee Kingdom Period. there was a ceremony called Tea Offering Ceremony In Silla times, there were Tea Offering Ceremony and Royal Shrine Tea Ceremony: In Corea age, they served Tea Presenting Ceremony: In Chosun age. tea ceremony was a part of Tea Presenting and was held during official greeting feasts for foreign envoys and during feast ceremonies at the court. The costumes for the tea ceremony by period are as fellows : In Corea times, king and all the government officials wore official court attire for Enthronement Ceremony (Ka-Rye). For Official Guest Reception Ceremony (Bin-Rye), king wore official costume, but in case the envoy was not carrying an Official King＇s Letter, king wore Ordinary Costume. In Chosun times, both king and prince crown wore ordinary costumes of winged silk crowns and royal robes (with golden dragon patterned segment) for Envoy Reception Tea Ceremony. In time of royal feast ceremony, king and prince crown wore ordinary costumes of winged silk crowns and royal robes, while queen wore red purple silk robe (red purple embroidered segment). Chosun＇s royal court occasionally held tea ceremonyat royal feast ceremonies during which king also wore ordinary costume of winged silk crown and royal robe as a costume to attract good fortunes. In case of ceremonies for bad occasions, a tea ceremony was included in Royal Inquisition procedures (joong-hyung-ju-dae-eui) during which king wore simple costume (Pyun-Bok).
A Study on the Evaluation of Consumer Satisfaction on the Purchase through the C2C Electronic Commerce-Focusing on the Fashion Products-
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 71~81
The purpose of this study was to investigate the customer service factors and evaluation of consumer satisfaction on the purchase through the C2C E- commerce, focusing on the fashion goods. 190 college students who have purchased products via C2C E-commerce were surveyed. For data analysis, descriptive statistics, 1-test, Pearson＇s correlations, and multiple regression were used. As the results, 50.5% of respondents have purchased fashion products through C2C. Out of 4 C2C characteristics factors. there was statistically the significant difference in only ＇entertainment factor＇ between males and females. All five SERVQUAL＇s factors used for measuring service factors in this study were correlated to customer satisfactions scores. Also. results of multiple regression revealed that assurance, empathy, and reliability were significantly to related to customer satisfaction. Based on these results, fashion marketing strategy for C2C development would be suggested.
A Study on the Property of Post-Structuralism in Fashion illustration by Delouse
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 83~93
The purpose of this study is to examine the relationship between thought systems of post-structuralism by Deleuze and digital culture which is the core topic of social and cultural discussion. And this study also aims to grasp the diversity and movable thinking shown in fashion illustration from the aesthetic thought systems of post-structuralism theory by Deleuze. Furthermore, this study intends to ascertain the concrete representation characteristics and its significance of fashion illustration by analyzing works on the basis of the above-mentioned theory. What are discussed in this paper can be summarized as follows First, this study examined the post-structuralism which supplies the theoretic basis for figuring out the principles of diversity and movable thinking. Second, this study examined the relationship between the open structure and movable individuality of Deleuze who is a representative scholar of post- structuralism. Third, this study analyzed the representative characteristics and aesthetic value to which the principles of post-structuralism, derived from the aesthetic theory of Deleuze, was applied.
Elegance Expressed on Dress as an Aesthetic Concept
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 95~107
Elegance in dress has existed as one of the important archetypes of aesthetic consciousness through the times. Nevertheless, there has generally been Ignored the Idea of analyzing it. The purpose of this study is to provide a framework for a better understanding of the beauty of dress by constructing the concept of elegance in dress as both one of aesthetic categories in dress and refined taste in the sociocultural contexts. For the purpose, the documentary study in sociocultural and aesthetic contexts has been executed. Considering from the holistic viewpoint, elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress hut also a sort of aura of dressed body - a combination of appearance, behavior, attitude, manner etc.- with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony Luxury means rarity and opulence of materials, craftsmanship for excellent qualities, genuineness. Nobility, related to the lady and the gentleman, can be explained as neatness. decency. modesty. and appropriateness for formal occasions. Refinement involves artifice, sophistication, maturity, and subtleness. Femininity reflects the characteristic of feminine attractiveness such as the dainty, the florid, the sweet. Harmony means organic unity. matching with body, moderation in opposition to exaggeration. These values has rather interactivity than exclusion. It is refinement and harmony that are centered on of all values.
A Study on Features of Parts of Jikryug and Relations Am]O the Features
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 109~123
The purpose of this study is to examine features of parts of Jikryung and relations among the features. Results of the study can be described as follows. 1. The short front and long rear of Jikryung was changed into the long front and long rear of the dress in the late 16th century. Kalgit of quasi-square style as double collar was changed into that of common collar in the late 16th century and then into common semi-circle collar in the early 17th century, when double Sup was also changed Into single Sup. Narrow sleeves of Jikryung were replaced by bean chaff-shaped in the late 16th century and then by wide ones in the early period of the next century. The shape of the side hem of Jikryung was changed from rectangle into trapezoid in the early 17th century Triangle-shaped Moo was changed into trapezoid-shaped one in the late 16th century and then again into triangle in the late 17th century 2. Changes in shapes of the parts of Jikryung were made with them correlated. The collar of Jikryung saw change in its form from double to common as its width was reduced. Double Sup was changed into single one and the narrow, short coat string into the long one as Jikryung became a dress needing less adjustment. The sleeves widened as the length of whajang increased. The side hem of Jikryung saw change in its shape from rectangular to trapezoidal one as its position was changed. Trapezoidal Moo was replaced by triangular one as the sleeve of Jikryung was changed in shape. 3. Changes in shapes of the parts of Jikryung influenced the aesthetic beauty of the dress itself In its first period, Jikryung was simple with long, slim silhouettes. In its second period, the dress was rich with increased volume. Finally in its third period, the dress was characterized by the harmony of simpleness and richness.
A Study on the Characteristics and Images of Rainbow Colors For Fashion Design
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 125~138
This study has the aim of defining the special characteristics and images of the rainbow colored fashion by understanding the theoretical bases of rainbow colors and analyzing rainbow colored fashion images in historical materials. western and folk costumes. modern fashion design. Giving careful consideration to the rainbow colored fashion makes it possible to develope the innovative way of fashion design to satisfy the needs of color usual for designers and colorists. To obtain the purposes, document study and survey study have been executed. The results of this study are as follows. In document studies, the beginning of rainbow colored fashion went back in ancient Egypt. Also saikdong of korea, poncho of indians are the examples of the rainbow colored fashion. The rainbow colored fashion were put on a man of position in principle ceremony for ornaments. In survey studies, the clothing perception characteristics in rainbow colored fashion were analyzed. Main factors of perception characteristics In the rainbow colored fashion are ＇closed form＇, ＇whole＇, ＇indeterminate＇, ＇rounded＇, ＇planar separation＇ The factors that affect the perception of rainbow colored fashion are ＇closed form＇ and ＇indeterminate＇ characteristics. And rainbow colored fashion images and clothing perception characteristics can be classified into four main images : Vigorous, Colorful/fairy, Fresh, Mysterious/brilliant. Therefore. this study is to systematize the characteristics and images of rainbow colors. Based on the results makes it possible to adapt rainbow colors to fashion design efficiently, for the suggested design elements and color palettes include basic three fashion design elements color. texture. form.
An Analysis of Floor layout and Fashion Brands -Focused on Adjacent Department Stores within 3 Division-
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 139~153
The first purpose of this study was to compare the fashion zones and fashion brands on the floors in small and medium volume department store with those of big department stores within adjacent trading area. The second purpose was to find out similarity and differentiation of near-by department stores. The third one was to propose the future fashion marketing strategies of the department stores. The methods used were references, internet, field observation, and interview in 2002. Eight department stores within adjacent trading area were classified and analysed In "Gangnam division", "Seocho division＇. and "Youngdeungpo division". The results were as follows : Firstly, there was a low relationship between the degrees of brand equalization of each department store in the "Gangnam, Seocho. and Youngdeungpo division". Secondly, there was an alteration on the floor layout of each department store. It was layed out in a way that allowed for customers, who wanted to just purchase specific items, to go upstairs and look around several stores, which allowed for not only rise in the amount of sales but also offer the convenience of one stop shopping for the customers. Thirdly I proposed several marketing strategies such as lifestyle marketing, relationship marketing, and compile marketing which solves everyday life agenda. I also proposed the solution selling education to develop service education of salesperson. I finally proposed the overriding priority policy by sales record of each store.licy by sales record of each store.
Op-Art in Fashion of Post-Modern Society
Journal of the Korean Society of Costume, volume 54, issue 5, 2004, Pages 155~166
OP-Art was not appreciated by painters and art critics. and according1y has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally. it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity. anonymity and mobility in the Op-Art fashion. The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity. which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted In diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man. can be the backgrounds of the Op-Art fashion. Second, Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators. which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques. the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society, Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modern society.