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 58, Issue 10 - Dec 2008
Volume 58, Issue 9 - Nov 2008
Volume 58, Issue 8 - Sep 2008
Volume 58, Issue 7 - Aug 2008
Volume 58, Issue 6 - Jul 2008
Volume 58, Issue 5 - Jun 2008
Volume 58, Issue 4 - May 2008
Volume 58, Issue 3 - Mar 2008
Volume 58, Issue 2 - Feb 2008
Volume 58, Issue 1 - Jan 2008
Selecting the target year
The Effects of Clothing Consumption Values on Ambivalent Clothing Consuming Behavior
Moon, Hee-Kang ; Choo, Ho-Jung ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 1~14
This study aimed to investigate the associations between clothing consumption values and the ambivalent clothing consuming behavior of young female adults. To explain the ambivalent consuming behavior prevailing in the contemporary fashion market, five dimensional consumption values proposed by Sheth(1991) were adopted as explanatory factors, and fashion leadership and spending were included as moderating factors. Data collecting using written survey instrument yielded one hundred and seventy two complete responses from female consumers aged between 20 and 39. Factor analysis on clothing consumption values resulted in five dimensional structures of consumption values for the sample: expressive, epistemic, functional, social, and fashionable values. Among these, expressive, functional, and social values significantly affected ambivalent consuming behavior. The effect of expressive value was strong regardless of fashion innovativeness, opinion-leadership, and monthly income of consumers, however, the effects of epistemic, functional, and social values were changed depending on the moderating factors.
A Study on the Continuity Expressed in Modern Fashion Design - Focusing on the Continuance Theory of H. Bergson and the Continuity theory of J. Deleuze -
Yang, Hee-Young ; Yang, Sook-Hi ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 15~33
Continuity and discontinuity is a relative concept, and there are various categories of the continuity and discontinuity in our circumference. Generally, characteristics of postmodernism including between the difference and the variety have being regarded as a discontinuity. Concept of the continuity includes between the quantitative continuity and the qualitative continuity qualitative continuity has organic characteristic, which encourages creating something permanently through the flowing of the time. Therefore, this thesis has studied like this complex social condition and various relationships expressed in modern fashion focusing on permanently creative movements and behaviors equal to the 'continuance' theory of Herni Bergson and 'continuity' theory of Jill Deleuze. This thesis classifies characteristics of the qualitative continuity into spatiotemporal and spatial continuity, and subdivides into 3 sets: perceptual continuity, spatial continuity, transferring continuity of physical experience, immaterial informational continuity, and fluid continuity with environment. Continuous viewpoint, which accepts the existing elements and allows them to flow liberally, should be present more appropriative thinking direction in explaining the complex situation expressed in the modern fashion, rather than discontinuous viewpoints focused on the only changing moment.
Color Images and Symbolism of Traditional Dress in Korean Films and TV Dramas Set
Kim, Young-In ; Jun, Yuh-Sun ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 34~47
Recently, as popular interest in costumes in Korean films and TV dramas has increased, traditional dress in works has re-evaluated with modern perspective of the Western color system. The results of this study can be summarized as follows. First, the traditional dress for women appeared in works after the 2000s has shown features similar in the use of red has appeared high. The high frequency of brown and pink, orange and purple used main colors in Western works. Also, what is the most prominent is the high frequency of use of achromatic colors. Second, the color harmonies of the East and the West have been done through color arrangement. The structure with more than 2-colors has been gradually changing into single or 2-colors, which give simple images to people. Third, in order to portray characters' diverse and psychological situations, Korean works have expressed the symbolisms of colors from the Western perspective. Though red symbolizes theory of Yin-Yang and Five-Elements, passion and authority since 2000 have used red to make main images. Also, pink is used as softness and pure images. Though works before the 2000s showed low frequency of the brown. The achromatic color that it has been applied to various parts. Recently black has been developing into a color symbolizing themes. Given the results from this study, it could be expected in future that the categories of color domains will be gradually extended as it is a trend for the traditional dress to escape from primary colors. On the other hand, achromatic colors that minimal and modern sensibility as well as basic color in fashion, especially the black, will increasingly extend ranges of utility or show a tendency of resolute changes.
A Comparative Study on Korean and U.S. Emo Fashion
Park, Judy Joo-Hee ; Ha, Ji-Soo ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 48~61
This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.
The Color Characteristics of Masculinity Presented in Modern Women's Suit - Focus on the Paris, London, New York and Milan Collections from 2004 F/W to 2006 F/W -
Kwon, Ji-Hyun ; Kim , Young-In ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 62~77
This study aims to analyze color characteristics centered by women's suit styles that represent masculinity remarkably. Through this, it figures out color's type and continuance availability as a representing tool to express masculinity to provide useful color information which can be applied effectively to various color planning. For this research, related images were collected among women's pants suits appeared in
Paris, London, New York and Milan collection F/W that are most similar to modern man's suit. Among them, the study analyzes 319 pictures where the features of masculinity were represented effectively. The referred color values were earned by converting
values measured through the color extracting tool of Computer program (Adobe Photoshop CS) and color tone characteristic were analyzed by classifying 12 color PCCS and 5 achromatic colors. The result of the study are as follows: First, based on standard of color hue and tone, in terms of color hue, PB, YR, Y were frequently shown up but G, BG series were not found much after analyzing overall women's pants suit color characteristics shown in
Paris, London, New York and Milan collection. Second, the color analysis about 3years of
tells that achromatic colors have been most widely used in every year. In terms of color hue, PB, YR, Y series were appeared most popular and G, BG classes weren't appeared frequently. In addition, once looking at yearly color tone distribution trend, like overall color tone distribution result, Bk, w, dkg, g, p were highly used as sequential and b, v, dp, sf, ItGy series show low distribution level. And such a distribution level of low and high in frequency has been showed continuously as a similar style. Accordingly, through the study, as a tool to express masculinity in women's suit, achromatic colors like black and white series and PB, YR, Y series color were investigated as most popular uses. And as color tones, Bk, w, dkg, g, p were used frequently.
An Observation on Characteristic of Architectural Paradigm in Twentieth Century Fashion Design
Park, Shin-Mi ; Lee, Jae-Jung ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 78~92
The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.
A Study on East Asian Costume Beauty, Affected by Religion - Focusing on Buddhism, Taoism, and Confucianism -
Seo, Bong-Ha ; Kim, Min-Ja ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 93~106
Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.
A Study of the Concept of Futuristic Image in Fashion Since 2000
Kim, Yoon-Hee ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 107~119
This study aims to define the concept of the futuristic image in fashion since 2000. In this study, earlier studies of the futuristic images in the fashion are analyzed and it is discovered that the most important characteristics of the futuristic images are the cosmic space and virtual reality. An analysis of actual data of the futuristic images of the fashion since 2000 produces the following conclusions. First, since 2000 the futuristic fashion to convey the image of space tends to be minimalist, taking H or A silhouette and using white, silver, or other vivid colors. Second, since 2000 the image of virtual reality is often expressed in the fashion of futuristic image as female fighters or vampires of the future who mostly wear pants suit or skirts that expose the body line. Materials of advanced technology or shiny leather are often used and dark colors including black are dominant in these images. Third, when the space image is expressed, the androgynous youth is emphasized. However when female fighters or vampires of the future are shown, sexual image of gloomy atmosphere is often stressed. Fourth, the fashion of futuristic image since 2000 takes up the space age look of the 1960s and the techno-cyber look of the 1980s and the 1990s. However their internal meanings are lost and only external forms are repeated. In sum, the current fashion of futuristic image emulates the past look of the fashion which was circulated as futuristic images and may be considered as a result of combination of futuristic image and retrospective image.
A Study on the Type of Light in Fashion Design
Jung, Hyun ; Geum, Key-Sook ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 120~133
The purpose of this study is to analysis types of light and to find the characteristics of light in contemporary fashion design. In a scientific context, light is electromagnetic radiation of a wavelength that has the characteristics of straightness, reflection, refraction, scattering and diffraction. But in philosophical speculations, light has been used as a metaphor of 'being', 'to-be' or 'enlightenment.' And through the ages, people have tried to represent and apply the light into plastic art like painting and architecture. The types of light in fashion design was categorized as those; reflective light from the surface of clothing which is the result of interaction between illumination and material, representative light as the pattern of light or light effect such as sun or its rays and optical or psychedelic patterns, luminescent light from light emitting material like phosphorescence or LED which combines into fashion design, projective light from a medium to reveal virtual patterns on the surface or a fashion design itself using holography. These lights in fashion design can be considered as reflection of emphasis of sexuality, longing for fantasy and mystique, visualization of interaction and communication and groping for the play.
A Study on "Viewing" and "Being Viewed" Found in Contemporary Fashion - Focus on the Perspectives of Freud, Lacan, and Merleau-Ponty -
Kim, Yon-Son ; Gaang, Byoung-Suk ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 134~148
Methods of delivering products to consumers do not act as less important factor than creative activities to create new product designs. Mobilizing various psychological elements based on human instinct and desire, fashion industry presents a product as an object of envy, gaining viewers' attention. Here, the viewer does not simply take the product as an object to view, but also imagine transformation it will bring. The study of the cause and effects of the interaction, which is found in the relationship between "the viewer" and "what is viewed" is an important factor that needs to be identified in the phase of creation as well as in the aspect of delivery. The relationship between the perceiver and what is perceived features in designs, product advertisements, related articles, and fashion shows in modern fashion, serving as a medium that enables the humans, who must inevitably exist between the two poles such as mind and body, the subject and the object, the ego and non-ego, and the reality and an ideal, to communicate between the poles. Humans cannot do arbitrary acts or make arbitrary selections only as they access to foreign things through instinct, desire, or experienced perception, and they are sometimes positioned passive by things. In the background, as there are human dual characteristics in which they are expressed as the ego and another ego who exists inside of the ego, they not only view an object, but also become an object to be viewed. Many products in modern fashion, as the objects of reciprocal transposition, grow giving illusions to humans. Having a desire for such objects is human's instinct and normal act to keep the life balanced between the reality and an ideal, which is based on the activation of reality function. Furthermore, freely acting rather than ignoring or overcoming the desire may be the act of retrieving one's ownership to the ego.
Design Characteristic of Tango Dance Costume and its Application in Modern Fashion
Baek, Kyoung-Jin ; Kim, Young-In ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 149~161
The purpose of this study is to consider the origin and kinds of tango and to analyze formative characteristics of tango dance costume. On the basis of the review of literature about tango, photos of tango dance and modern fashion collections designed by tango themes are analysed to examine design elements which are essentially considered in dance costume design. The result of this study are as follows: This study shows the different characteristics of tango dance costume depend on the kind of tango. In case of Argentina tango, sheath silhouette dress and black color are preferred, for Continental tango, fit and flare silhouette which gives convenient movement in dress and white color emphasize the elegant movement are preferred. America tango accentuates the body movement by fitted silhouette, metallic materials, and bead trimmings in dress. The result of the analysis of recent fashion collection shows that characteristics especially strong and sensual tango are mainly an inspiring motive and reinterpreted by designers in modern fashion.
A Study on the Design Factor for Increasing the Dynamic Fit of Slacks
Cho, Sung-Hee ;
Journal of the Korean Society of Costume, volume 58, issue 2, 2008, Pages 162~180
The purpose of this study is to find the basic design factors that affect the changes in body surface lines caused by lower limb movements, thereby resulting in slacks that fit well regardless of whether the human form is static or in motion. Using unmarried female university students aged 18-24 as subjects, a total of 32 body surface lines (15 body surface total lines and 17 body surface segment lines) were measured in one static and 9 movement poses, The analysis first involved the calculation of the expansion and contraction rates per body part in body surface line in 9 lower limb movements, Second, a factor analysis was conducted using the expansion and contraction rates of these changes in body surface line. The results of this study are as follows, According to the factor analysis, basic design factors that affect changes in body surface lines comprised 8 types of factors as illustrated in fig, 2-fig, 9, which explained 79.2% of total variate for the variables studied, Factor 1, comprising the lower segment of center back leg line, center front leg line and inner leg line, and lower limb girth except midway thigh girth and ankle girth below hip girth, accounted for 30.3% of total variance, Factor 2, comprising waist girth, the total and upper segment of center back leg line and center tront leg line, and front and back segment of crotch length, explained 17.4% of total variance, Factor 3, the total and upper segment of lateral leg line at the center, accounted for 56.5% of total variance in accordance with Factors 1, 2, and 3, Factor 4 was the contracting upper part of lower leg between legscye girth and midway thigh girth, Factor 5 comprised the total and upper segment of inner leg line and posterior knee girth, Factor 6 was the total crotch length, Factor 7 was the ankle girth, Factor 8 was the abdomen girth.