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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 56, Issue 9 - Dec 2006
Volume 56, Issue 8 - Nov 2006
Volume 56, Issue 7 - Oct 2006
Volume 56, Issue 7 - Sep 2006
Volume 56, Issue 6 - Aug 2006
Volume 56, Issue 5 - Jul 2006
Volume 56, Issue 4 - May 2006
Volume 56, Issue 3 - Mar 2006
Volume 56, Issue 2 - Feb 2006
Volume 56, Issue 1 - Jan 2006
Selecting the target year
A Study on Meaning of Open Structure in Clothing Design
Cho, El-Lie ; Kim, Young-In ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 1~13
The purpose of this study is to apply a concept of open structure to clothing design and to verify the characteristics found in the various types of clothing which has open structure. The literatures from various academic fields including philosophy, literature, social science, architecture, and fine arts are investigated to define the concept of openness and to analyze it from the perspectives both of the visual and of the moaning of openness. This paper is to identify the types and the characteristics of clothing by future intention, complexity, discontinuity of open structure. By closely examining fashion design after 1980s found in fashion collection publications and designer's websites, the results of this study are as follows: first, the concept of openness can be classified into two different levels, that is, visual and meaning, secondly, in clothing the concept of open structure is applied to the meaning side by future intention, by complexity and by discontinuity. Open structure through future Intention has new content and interpretation and must have the possibility of intelligence awakening, future guidance and basic contents. Open structure through complexity has secondary function exists concurrent with the shape key example is the smart clothes with the digital functions. It has functions of amusement, supplement and protective, and is future clothes which satisfies with health, welfare, desire of beauty. Open structure with discontinuity is clothes with dramatic changes in system, structures and states. Structure can be changed by silhouette, detail, or fabric, material, or dramatic and practical function as tools in terms of productions and environment. This study can help to formulate and to integrate the concept of open structure in clothing with various phases and enhance the value of clothes by showing an application of the concept of openness to the clothing in meaning level.
The Esthetic Features of Femme Fatale Fashions in Movie
Kim, Bok-Hee ; Nam, Yoon-Sook ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 14~23
The purpose of this study is to identify the esthetic features of femme fatale character fashions, which are shown in Movie
. The feature of evil femineity is the attribute of evil which brings men to ruin by the dangerous, cunning, and cruel trick, and is expressed in black color, red color, and slash fashion. This fashion shows the dark reverse side of women's sexual desire in relation to anxiety, evil, and death. The feature of sensuality evokes physical pleasures or desires, and maximizes the exposure of sexual regions by tightening or loosening women's body. In the fashion expressing this feature, the forms are fit or loose silhouette. and the colors are black and red. and the materials are soft. This fashion seems to deconstruct the past concept of sex consciousness and emphasize the independent and autonomous femineity. The feature of positiveness combines feminine elements with masculine elements in relation to power elements. This feature is expressed in tailored suit and trousers, with few patterns and details, and in black color and gray color. This fashion reflects the aggressive, challenging, and independent femineity, and expresses the potential defense for the weakness and danger of female body. The feature of purity expresses the earnest and truthful mind, and is expressed in the soft and light one-piece dress, the elegant suit, and the pink color and black color fashion. This fashion shows angel-like and reliable womanly beauty, but at the same time shows women's attribute which changes their behavior and thinking every moment, so that this fashion shows women's double-sided attribute which combines women's weakness and violence, or tenacity and conflict.
Expression of Eroticism According to Body Part in Modern Fashion - Focused on Editorial Fashion Photography -
Choi, Na-Ry ; Woo, Joo-Hyung ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 24~36
The consumption became a virtue of social in 20th century, and this consumption culture created an ideal body image through mass media. Sexual image became a new standard of 'beauty' in a modern fashion, and designs which expressed sexual image appear every season. Individuals were fascinated with some parts of human body. These body parts are different based on the time period and the culture that the individual belonged to. This study focused on the erotic body parts and expression on the editorial fashion photography. Eroticism represented in the editorial fashion photographs can be divided into the expression by clothing design and by creating erotic atmospheres. Erotic expressions by clothing design can be presented by 1)exposing directly 2)exposing indirectly 3)emphasizing the body parts. The most frequently presented erotic body parts in fashion photographs were legs(25%), followed by the bodice with breast (21%), the waist (16%), the hip (12%), neck & shoulder (10%), arms (9%), and abdomen (7%). The results indicated that legs were considered to be a erotic body parts often than the traditionally referred erotic body parts, such as bodice with breast or hip. While direct exposing method (e.g., adhesion, see-though) was frequently used for other body parts.
Types and Characteristics of Twill Damask Fabrics of Ancient Korea - Focused on Twill Damask Fabrics found at Sukga Pagoda -
Jang, Hyun-Joo ; Kwon, Young-Suk ; Won, Hee-Jung ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 37~49
The purpose of this study is to figure out the types and characteristics of the twill damask fabrics through literatures review of both domestic and Chinese documents and records. In addition, the study aims to review the characteristics of the twill damask fabrics found at Sukga Pagoda. The twill damask fabrics can be categorized in terms of the weaving method into Float Pattern on a Tabby Ground, Twill Pattern on a Tabby Ground, Float Pattern on a Twill Ground, Twill Pattern on a Twill Ground, and Without Pattern on a Twill Ground. The fabrics ran also be divided in terms of their name into Ki, Neung, and Munju. Four items of twill damask fabrics were found inside the Sukga Pagoda. All of them are Twill Pattern on a Twill Ground. At the primitive level of weaving skill, twill damask fabric was made by adding patterns with twill damask or BuJik on the background of plain weave. At more advanced level, the fabrics are weaved by making patterns with twill damask or BuJik on the background of twill damask. Compared to the relics of Koryo and Chosun Dynasty, these twill damask fabrics were loosely weaved with relatively thick thread.
The Plasticity of Women's Hats Since the 20th Century
Ryu, Hyun-Jung ; Kim, Min-Ja ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 50~65
The purpose of this research is to analyze the plasticity of women's hats in the 20th century. This paper reveals the characteristics of formation through the historical survey of women's hats, which can be used as a basic design data for developing high value added products. Hats have been worn to play as key roles of various social codes. During the 20th century, functional roles of hats still existed, and the roles of ornaments had been gradually increased, however, the roles with symbolic meanings of regarding social class had been weakened. The major plasticities of hats can be generally analyzed based on the shape, material, technique, and ornament. As the time passed by to the end of the 20th century, flat-shape hats have been worn casually in both Western countries and Korea.
Representation of the Body in Fashion (II) - Focusing on the Representation of Physicality -
Yim, Eun-Hyuk ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 66~82
Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is
. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.
A Study on Textile Fashion Design Using the Formativeness of the Works of Gustav Klimt
Lee, In-Young ; Kim, Soo-Kyong ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 83~97
This Study is a thesis presenting handicrafty and decorative textile design as well as sensual fashion design through the works of Gustav Klimt. The result is as below; The formative qualities in the works of Klimt could be featured as decorativeness, sensuality and symbolism. First, the decorative inclination is prominent in the portrait and the effect is maximized with the golden mosaic shape expressed on the dress and the background influenced by the Byzantine. Second, the sensuality could be recognized directly from the women's pose or facial expression in the works of Klimt, otherwise appeared on the refined expression showed on the portraits of noble lady Third, to surpass the reality, Klimt preferred the symbolic expression, which can be shown on the patterns in the works addressing the themes such as the legends and myths, or figures of men and women expressed with the image of an abstract features of membrum. The development of the textile design is as fellowed. First, it analyzes and reconstitutes the formativeness and the element of design in the works of Klimt by the flow of the form factor. Second. it makes a pattern of a single nature through perception, analysis, description and drawing and expresses with realization of the characteristics of Klimt. Focusing on the handicrafts and decorativeness out of the latest trends and making the most use of the sensuality, the designed textiles were completed by the handicrafty techniques, used in the fashion design and completed as the design of sensual images. The textile development aims at minimizing the limit of design that can be caused by the absence of silhouette and detail, expanding the range of its creativity of fashion designs and creating fashion design high value-added.
A Comparative Study on the Characteristics of Costume Colors of Korea. China. Japan in the 20th Century
Lee, Jee-Hyun ; Kim, Young-In ; Kim, Hee-Yeon ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 98~111
The objective of this research is to examine the commonness and differences of Korean, Chinese and Japanese costume colors of modern and present ages. The result of this study showed that modern China and Japan had quick influx speed of Western culture. Dissimilarly, modern Korea kept conception of colors from Chosun periods that show the high frequency of 'Five Elements Colors' and neutral colors in Red, Yellow and Purple Blue. Today, the costumes of China, Korea and Japan use similar tones of color but each country approached in different selections of achromatic colors; Korean prefers color in Yellow Red, Purple, and Chinese in Green Yellow, Green and Japanese in Purple Blue. Light greyish and pale toned Yellow Red and grayish tone have increased in modern Chinese and Japanese costumes. Also both countries have corresponding assumptions in using color of Red in strong tone. The analysis of color and tone distribution showed that, Japanese costume colors in modern and present times have correlative number of use as in Western culture. Traditionally, Japan has least notion of using 'Five Elements Colors' which only gives minor changes by convergence of Western color culture. In other side, China had developed in color rather than tone compares to Korea and Japan by using many of the Red color of strong, vivid and deep tones which made red distinguishing color of China. Japan continues to use of low chroma colors and became a characteristic in modern and present day, also they use an abundance of color in Yellow Red, purple Blue. Korea has a higher frequency showing in light, bright tones of color distinctively compares to China and Japan.
A Comparative Study on the 20th Century French Fashion and Italian Fashion
Jung, Yu-Kyung ; Chun, Hei-Jung ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 112~126
In this study, to study the aesthetic properties of the Italy fashion, the internal fashion contents are defined according to the cultural characteristics of Italy and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the Italy culture. The aesthetical properties of the contemporary Italy fashion can be analyzed as follows:
Functionalism is a feature showing the Italian cultural environment where the genuine humanism is retained. It enables the practical designs by applying details and materials that wouldn't put a limit to the movement of the human body.
Naturalism focuses on the natural beauty of the human body without any artificial forms or exaggerated ornaments. Natural texture or materials are used to express the human body itself, or to emphasize the natural aesthetic effects flowing with the human body.
Localism is the expression of folk spirit affected by the natural environment. It expresses local atmosphere by unique craftsmanship in material, pattern, color and details. Based on this result, the aesthetic properties of the contemporary France fashion, examined through
A Cultural Approach to the Aesthetic Characteristic of the 20th Century French Fashion
and those of the contemporary Italy fashion are compared.
Indian Traditional Clothing in Fashion Design of the 21st Century
Choi, Ho-Jeong ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 127~142
In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.
A Study on Modern Military Uniform Design
Kwon, Sang-Hee ; Ha, Ji-Soo ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 143~156
The purpose of this study is to analyze changes in military uniform design according to the type of war in history and to suggest factors to be considered when designing military uniforms. Military uniform in this study has been limited to uniforms of land active soldiers and not only includes battle dress but also bombproof helmets, combat boots and webbing systems. Western military uniform was investigated starting from World War I focusing on the United States, United Kingdom, Germany and the Soviet Union, and Korean military uniform was analyzed starting from the Korean Day of Independence. Historical research, case studies and in-depth interviews were included in the study. World War I was a trench war. Khaki colors began to be used in battle dress, and steel helmets and gas masks were invented. World War II was a full-stale war. Many kinds of uniform were designed with various environments and roles of soldiers in mind, and camouflage was adopted in military uniform. Modern wars were wars of technique. Strong protectors were invented and diverse camouflages were adopted as rifles became increasingly accurate and biochemical weapons started to be used. Korea referred largely to the uniforms of the United States because it lacked both information on war and the financial power to invest in development of military uniforms. Finally, this study presents 5 factors to be considered when designing military uniforms: protection, camouflage, mobile and utility convenience, compatibility and symbolism. Wars of the future are predicted to be information wars utilizing realtime information collected through computers. Therefore new military uniforms with computers, communication devices and strong protective capacities need to be developed. This study aims to provide a theoretical basis for designing military uniforms of the future.
A Study on the Nudism Style Expressed in Modern Fashion
Park, Tae-Young ;
Journal of the Korean Society of Costume, volume 56, issue 9, 2006, Pages 157~175
The purposes of this study are to establish a theoretical concept of nudism from sociocultural context, to examine its formative characteristics, to analyze the cultural meaning of nudism style showing in the 2000's fashion world, and to analyze and examine its aesthetic qualities. The way of a study was based on analysis and review on philosophy, aesthetics, sociology, popular culture and various documents at home and abroad and previous study and research materials about art and clothes for theoretical study. Also, we carried out a case study by analyzing photo data from fashion books, magazines and internet websites, considering the body and dress as visual objects. The summary and conclusions of this study are as follows: 1. Nudism of the sociocultural context was divided into change of understanding of the body and liberation of the body; naturalism; resistant culture; psychoanalysis context. 2. The formative characteristics of nudism style in fashion are classified in Exposure, Transparency and Body Conscious. 3. The cultural meaning of nudism style expressed in the 2000's fashion are sexual opening, surfeit of mass media, pursuit of naturalism, lookism, and individualism. 4. Nudism style expressed in 2000's fashion is drawn as three aesthetic qualities: Eroticism, Primitivism and Futurism. First, Eroticism of nudism style fashion which seeks for sexual stimulus is classified in Sensualism, Provocation and Innocence. Second, Primitivism of nudism style fashion which tends towards naturalism objecting to mechanic and digital civilization and hoping for return to the origin is classified in Primitivism, Naturalism and Sensualism as per aesthetics qualities. Futurism which is the nudism style presenting futuristic expression through using a new material is analyzed as High Technology, Cyber Sexism and functional Future.