Go to the main menu
Skip to content
Go to bottom
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 57, Issue 10 - Dec 2007
Volume 57, Issue 9 - Nov 2007
Volume 57, Issue 8 - Sep 2007
Volume 57, Issue 7 - Aug 2007
Volume 57, Issue 6 - Jul 2007
Volume 57, Issue 5 - Jun 2007
Volume 57, Issue 4 - May 2007
Volume 57, Issue 3 - Mar 2007
Volume 57, Issue 2 - Mar 2007
Volume 57, Issue 1 - Jan 2007
Selecting the target year
A Study on the Development of the Nightgown Considering the Construction Features of the Cheolik and the Shimui
Kim, Hyun-Jeong ; Cho, Oh-Soon ; Kim, Yeo-Sook ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 1~16
The study aimed to develop the nightgown considering the construction and design features of the Shimui and the Cheolik. The analysis on the construction features of the Korean traditional costume and the physiological and motional attributes while sleeping resulted into the construction factors of the nightgown developed in the study. Consequently, the nightgown having these traditional Korean costume features were made for the evaluation. 4 different types of nightgowns were designed to be constructed. 20 professional clothing staff evaluated these 4 nightgowns developed and the existing nightgown used in the hotel industry. The results from the wearing test evaluation were: (1) to consider the stable closure of the gowns while wearing, the scores of the gowns developed were higher than the existing one. (2) the evaluations of the wearing comfort of the standing posture for the gowns developed and the existed were more or less similar but considering the lying down posture, the scores of the developed ones were significantly higher. (3) the gowns developed to have the wide-ham lines were considered more appropriate to the leg movement compared to the existing gown. The results from the fit and appearance test evaluation were: (1) throughout the all hight levels, the means of the gowns developed were higher than the existing gown's means in the most of the evaluation questions. (2) in the evaluation of the Korean traditional features, the gowns developed were more appropriate than the existing one. Consequently, the gowns developed were considered better to compare to the existing one in the context of postures, movements, comfort, appearance, fit, and design features.
A Study on Design of Girls' School Uniform Since 1996
Chung, Eun-Sook ; Suh, Dong-Ae ; Lee, Young-Wha ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 17~31
Fashion of one period is symbolic and figurative means of expression reflecting spirit, ideology, emotion and aesthetic values of that period. Designs of school uniforms fer girls also went through changes in various shapes along with changes in sociocultural and philosophical backgrounds in each period. Thus, in this study, in examining girls' school uniforms, how girls' school uniforms have evolved with what kind of design characteristics was observed along with process of historical changes, and investigation was made on realistic conditions of girls school uniforms since 1996 when active advancements in school uniform design were started. Also, through examination of girls' school uniform designs from homepage of large student uniform companies and catalogues, characteristics of girls' school uniforms after 1996 were observed. On the result, we could know that girl's school uniforms from 1996 to 2006 were designed in various forms compared to those of the past time and changing Arends of the era were reflected on the school uniform designs. Narrow waistline, shorter blouse, changes in the length of jacket and skirt showed that current school uniform designs pursue the fashionable and trendy designs unlike those of the past times that were uniform and strict. This study include organizing characteristics of girls' school uniform designs by each period, providing fundamental and realistic data for clothes manufacturing and marketing activities through analysis on designs of girls' school uniforms since 1996, and providing directions for future school uniform designs.
The Harmony Perception According to Color Coordination of Identical Tone for Menswear
Lim, Ji-Young ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 32~45
Among 96 color combination stimuli, male students evaluated 47 set as harmonized, but female students evaluated 32 set, so proved that male's range of harmony more extensive than that of female. Specially red shirt and yellow red necktie in all tone was evaluated as harmonized coloration by both male and female students. Female evaluated as the best harmonious coloration that red shirt-yellow necktie in dark, blue shirt-yellow necktie in dark, purple shirt-red necktie in light, green shirt-blue necktie in dull, and male evaluated red shirt-yellow red necktie in light, blue shirt-yellow necktie in light, purple shirt-red necktie in light, green shirt-yellow necktie in dark. It is significant difference between female and male on red-green in vivid, and blue-purple in vivid, blue-blue in dull, blue-yellow in dark, and purple-purple in dull. And shirt color and necktie color, necktie color and tone, tone and perceiver' gender influenced on the harmony evaluation by interaction.
The Style Characteristics of Exotic Images Items -Focusing on the domestic women's wear from 2001 to 2006-
Lee, Mi-Yoen ; Park, Meeg-Nee ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 46~61
The analysis of exotic style in domestic fashion brand items aims to offer the ideas necessary for the style and item developments and to analyze exotic images and styles accepted in domestic fashion market. Therefore this study analyzed the domestic fashion brand items and categorized the main exotic factors and styles so that would catch on to its characters and appearance frequency. As for the research method of this study, the frequency and content multi-dimensional analysis were used in the investigation of the exotic images appearing in the domestic fashion brands. The styles of exotic image in domestic fashion brand items are 'natural' style, 'primitive' style, 'ethnic' style, and 'maximalism' style. Also, the main exotic factors in each exotic style were composed of a few exotic images such as 'natural', 'primitive', 'ethnic', 'romantic', 'elegance', 'splendid', 'seductive', 'retro', 'traditional', 'classical', 'bohemian', 'vintage', 'kidult', 'artistic', 'extreme compromise', and 'modern'.
The Characteristics of Five-elements Color of Traditional Costume of Korean Basic Culture
Kim, Ji-Young ; Kim, Young-In ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 62~70
The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.
The Popularity depicted on Fashion Make-up in John Galliano's Collection
Jang, Ae-Ran ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 71~86
Affinity between a creative and experimental fashion design and a Fashion Make-up expressed in John Galliano's Collection was analysed to examine the harmony between Beauty and Fashion. This approach may establish the link between the Fashion Make-up analysed in view of Aesthetics and aesthetic characteristics of a fashion design that a fashion designer pursues. The Fashion Make-up plays a significant role to express a relevance to a design spirit because it is a visual text that a audience faces easily in a collection leading the style. Under the proposition that collection is understood as a popular culture as the fashion is preferential and popular, the Fashion Make-up can be analysed in the aspect of aesthetics. The characteristics reflecting the popularity of popular culture, such as the comic, the erotic, the fantastic and the sentimental are used to analyse and interpret the Fashion Make-up. The fashion design and Fashion Make-up with one characteristics or combined ones showing uniqueness in the popular culture are compared and analyzed.
A Study on the Wearing Occasion and Formula of Jeok-Ui in the Joseon Dynasty
Kim, Soh-Hyeon ; An, In-Sil ; Jang, Jeong-Yun ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 87~100
In the Joseon Dynasty, a Court Ladies' full dress was Slanted by the Ming Dynasty. Since the Ming Dynasty had declined, a Court Ladies' full dress, Jeok-ui began to be made by the Joseon Dynasty. It was based on the Chinese Court Ladies' full dress, Desam, but it became Joseon's own style, which was different from the Chinese one. The formula of Jeok-ui was completed in the time of King Yongjo. Since then, Jeok-ui for big ceremonies was called Bub-bok. It was recorded on the Regular rule of Sang-uiwon. The color of Jeok-ui was departmentalized for the wearer; red one for the Queen, bluish black one for the Crown Princess, and purple one for the Queen mother. There were some differences between Jeok-ui for feasts and for big ceremonies. In the case of Jeok-ui for big ceremonies, the pattern of Hyung-bae for the Queen was a dragon with five claws, and for the Crown Princess, a dragon with four claws. On the other hand, in the case of Jeok-ui for feasts, the pattern of Hyung-bae was phoenixes for the Queen, Crown Princess and the Queen mother. The number of embroidered round badges, which were attached to Jeok-ui, was 51 for big ceremonies, and 36 for feasts. The skirt for big ceremonies was a Jeonang-ut-chima with dragons pattern for the Queen, and phoenixes for the Crown Princess. The Queen's skirt for feasts was a Jeonang-ut-chima with phoenixes pattern, and the Queen mother's also. The Crown Princess' was a double skirt with phoenixes pattern. The pearls were not decorated on the shoes for big ceremonies, but shoes for feasts had six big pearls fer decoration. When the royal woman wore Jeok-ui for big ceremonies, it was prepared for Kyu, Pe-ok and belt with jade. But those were not necessary for Jeok-ui for feasts.
The Conversational Pattern Designs Expressed on Fashion in the Early 2000's
Yi, Jae-Yoon ; Kim, Min-Ja ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 101~111
The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.
A Study on the Gamtu
Kim, Eun-Jung ; Kang, Soon-Che ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 112~121
Gamtu was a name recorded in Korean in respect of 'Mo(帽), Moja(帽子), Somoja(小帽子), Jeongmoja(頂帽子), Jeonmo(氈帽), Yangmomo(羊毛帽), Tangjeon(宕巾)' from the beginning to the end of Joseon dynasty which includes various shapes and uses according to wordbook. Also, Gamtu has various phonetic transcriptions, however Manchu pronunciation of 'Moja(帽子)' is indicated as 'Kamtoo' in
so the origin of the word Gamtu should be discussed. Accordingly, I want to clearly define the concept of Gamtu in this research by studying the history and shape of Gamtu, and Chinese entries annotated in Korean as Gamtu. Even though we can assume that the etymology of Gamtu is Manchu language as Manchu pronunciation of 'Moja(帽子)' is indicated as 'Kamtu' in
, I think the Korean pronunciation of Gamtu already existed because there already was a Chinese transcription of 'Gamtu' in the Goryeosa(高麗史). So, we can conjecture that Gamtu could be originated from Yeojin language which is the same lineage of Manchu. As a conclusion, Somoja(小帽子), Jeongmoja(頂帽子), Moja(帽子), Jeonmo(氈帽), Yangmomo(羊毛帽), Tangjeon(宕巾) had a common feature that they were produced to fit head without visor, and were annotated as Gamtu per woolen cloth was used as Jeonmo(氈帽), Yangmomo(羊毛帽), and Gamtu was just a Korean transcription that includes these names.
The Expression of Materiality and Formlessness in Fine Art and Fashion
Yun, Su-Jeong ; Kim, Min-Ja ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 122~134
Fine art and fashion have influences on each other since both of them are the part of a culture. The similar patterns of fine art and fashion can be found either in the same period or in the different time. To find out this fact in the forms or content, this study researched into the fine art and fashion of 1960s and into recent year's fashion to see the revivals. In 1960s, fine art and fashion laid emphasis on the materiality of material itself, therefore both fine art and fashion have the tendency of formlessness and disorder in form. It ran be said that the socio-cultural background of this phenomenon in 1960s was mainly caused by the young generation called Hippies. They became a large influential social group that has a huge impact on overall culture in 1960s. As a result, this study firstly found that the fine art and fashion had common formative features and content in 1960s. Secondly, fashion since 1990 repeats the similar features in form like the Post-minimal tendency in fine art in 1960s. The similar features can be described as: artworks have the tendency of the formlessness and disorder in appearances; various materials were newly used to form a work, which had never been used in traditional artworks; new methods such as hanging, layering and knotting were applied to show the maximum expression of the materiality. However, unlike the fashion of 1960s, the Post-minimal tendency in fashion since 1990s doesn't symbolized freedom or peace, or opposition to the war anymore. Instead, only the formative elements were revived and reproduced and the formless tendency became one of the recent fashion trends.
A Study on a Symmetric Collared Jackets in Early Joseon Dynasty -Based on the Excavated Costumes of Seok-nam-dong, Incheon-
Song, Mi-Kyung ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 135~144
This study is about the three pieces of jackets with a symmetric collar that was used to fill in the empty spaces in coffin excavated in 2004, from Seok-nam-dong, Nam-gu, Incheon. The similarities of these three jackets are that the collars are symmetric, there are seops(the outer bodies to overlap the front sides of a jacket) with pleats, and openings on the side seam. The No.2, and No.6 seem to be jegori to wear over others, and the fabrics used for No.2 is damask with cloud pattern, and damask with lotus flower pattern. For the No.4, satin was used and there is peacock pattern weaved on satin using golden thread. No.41 is unlined clothes made with Suk-cho, and the distinctive feature about this clothes is that the collar, and the neckline are very narrow. The three jackets are similar with the recently reported clothes of Kim clan of Gang-leung (deducted to be buried in 1520), the collection of Seok Joo-sun Memorial Museum. Through this report, it provides information about some aspects of upper class women's clothes.
Fragmentation of the Body in Fashion
Yim, Eun-Hyuk ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 145~159
Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. As the 20th century art put premium on self-expression, the body itself became a powerful medium of expression in fashion. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the fragmentation of the body in fashion. In order to inquire the formative style and aesthetic values expressed in fragmentation of the body in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century, The results of the study are as follows. Fragmentation of the body in fashion means the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. The formative aspects of fragmentation are achieved through body casting, displacement, and deconstruction. The absence of physicality in fashion opposes the sartorial convention and symbolism that results in the discord between signifiant and
of clothing. 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 fragmentation of the body in fashion, focusing on the relationship between the clothes and body.
Men's Cosmetics Purchasing Behavior Based on the Level of Interest in Appearance, the Country of Origin, and the Sales Promotion
Jang, Jin-Young ; Hwang, Sun-Jin ; Jeon, Ho-Kyung ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 160~171
This research studied men's cosmetics purchasing behavior based on the level of interest one has in one's appearance, the country of origin, and the sales promotion of the cosmetics. The study was conducted by experimental
design by combining the 3 variables mentioned above. The Independent variables in this research were levels of appearance interest(high vs. low), the country of origin(Korean vs. foreign), and types of sales promotion(discount vs. coupon). The dependent variables were the purchase behaviors including favor to cosmetics and purchase intent. Two hundred male consumers participated for the study. Data analysis conducted were factor analysis, cluster analysis and ANOVA. The results were as follows. 1. Male consumers' cosmetics favorness: 3-way significant interaction, in appearance interest, the country of origin, and types of sales promotion, was found for favor to male cosmetics. When male subjects were provided with price discounts and skin care coupons for the Korean cosmetics, they didn't reveal significant differences in favor, regardless of the level of appearance interest. However, for the imported cosmetics, male subjects with high appearance interest showed more favor to the cosmetics than the ones with low appearance interest. 2. Male consumers' purchase intent: 3-way significant interaction, in appearance interest, the country of origin, and types of sales promotion was found for the purchase intent. When male subjects were provided with price discounts and skin care coupons for the Korean cosmetics, they didn't show significant difference in purchase intent, regardless of their appearance interest. However, for the imported cosmetics, male consumers with high appearance interest reported more purchase intent than the ones with low appearance interest.
Low-Level Officials' Costumes as Illustrated in Tamna-Sullyeokdo at the Era of King Sukjong of the Joseon Dynasty
Lee, Joo-Young ; Jang, Hyun-Joo ;
Journal of the Korean Society of Costume, volume 57, issue 6, 2007, Pages 172~183
The purpose of this study is to examine the dress and its ornaments of low-level officials shown in Tamna-Sullyeokdo, the paintings of the inspection tour of Jeju Island. The low-level officials Include low-level soldiers-sungjungun, gichigun, foot soldiers, cavalries, gunroe, ilsu, artillerymen, najang, and sawon-, musicians, servants, and kisaengs in government employ. 1. Different types of low-level soldiers tended to wear different kinds of clothes that is worn under an outer garment and to wear different coats and trousers depending on an outer garment. That is, sungjunggun, gichigun, foot soldiers, and cavalries were jeonbok over a jeogori and baji. On the other hand, gunroe, ilsu, artillerymen, and najang were houi or jakui over a jeogori and baji. However, Sawon simply were Jeonbok or armer or they wore Cheolik in formal occasions. 2. Musicians wore a jeonlib, a type of hat, decorated with an ear of barley and a red houi over a Jungchimak, a man's outer coat with large sleeves. Musicians wore colorful red clothes in order to add to the amusement during military trainings or banquets. 3. Servants in government employ had their hair in plaits and wore a jeonbok over a Jungchimak or baji and jeogori. However, when they dance during banquets, they were cheolik and jeonlib decored with/without an ear of barley or red flowers. 4. Gisaengs in government employ wore a gache on their head and wonsam, a woman's full dress during big occasions. They, on the other hand, wore a jeogoli and chima for regular occasions.