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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 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
A Study on Maximalism in the Modern Fashion - Focused on the 2000s -
Park, Eun-Kyung ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 1~18
The tendency of exuberant multi-everything, enormous volumes and decoration has been showed in fashion since the 21st century. This tendency is very interesting in contrast to the tendency of restraint, simplicity and removing decoration which has been showed in the modern fashion throughout the 20th Century and especially minimalism fashion in the 1960s and the 1990s with the expectation of New Millenium. Maximalism is this kind of exuberant expression emerged since 2000. However, studies about maximalism in fashion have not been performed enough. Thus this study tried to analyze the aesthetic characteristics of maximalism in the modern fashion according to the previous studies of maximalism in design and architecture with social cultural background. The scope of this study was from 2000 to 2006, and this study was performed through literature survey with demonstrative analyzation of fashion collection photographs. The results are as follows; Maximalism has the meaning of 'maximum oriented-ism' and has aesthetic view of 'more/bigger is more beautiful.' The formativeness of maximalism in modern fashion was analyzed as fusion, enlargement, decoration, and fantasy. The internal meaning was analyzed as recovery of human being through pursuing of sensibility, fun and newness.
Royal Ladies' Hair Styles of Joseon Dynasty in the 19th Century
Lee, Eun-Joo ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 19~33
Hair style of royal ladies in the 19th century according to the wedding record of King Heon-jong and Lady Sunhwagung is studied in this paper and summarized as follows: First, Saengmeori was a bridal hair style for the wedding night in Gyeonmagi(jacket) and Daeranchima(Skirt with gold trimming). It was a typical girls' hair style before the coming-of-age ceremony. It was composed of Saengmeoridari(wig), Seockunghwang, Jogduri(Coronet decorated with Jewellery), Saengdaeng-gi(hair ribbon) trimmed pearls, and jade disk trimmed pearls. Second, Garaemeori(double bun hair style) was the hair style with Wonsam when the chosen bride went to Byeol-Gung, a special palace for the bridal. It was composed of Gareachi(wig) and Cheopji(small wig) with the frontal hair ornament, jogduri, and Saidang-gi(hair ribbon). Third, Jojimmeori(single bun hair style) is a basic hair style for the madame. It was composed of jojimmeorichilbo, jogduri, jojimmeoridari(wig), and Cheopji with a frontal hair ornament. Fourth, Keunmeori is the second most important hair style for the court ceremony. It was composed of Eoyeomjogduri, Eoyeomdari(wig), Cheopji with a frontal hair ornament, Keunmeoridari(wig), and Keunmeorichilbo. Fifth, Susik, the most important hair style for the court ceremony, is the hair style for ceremonies including the day of becoming the formal queen, the first greeting day to the King's family. It was composed of 4 kinds of wigs and Susik-chilbo.
A Study of Effects on Long-Term Relationship Orientation of Women's Experiential Fashion Marketing -Focused on Middle.Old Aged Women-
Seo, Eun-Kyoung ; Lee, Sun-Jae ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 34~48
Modern fashion market is being developed by emotional values rather than rational idea of customers. Experiential marketing is an effective marketing strategy for fashion marketplace because customers tend to consider fashion shopping as an enjoyable experience. Among the fashion markets, the fashion stores for middle.old aged women that have various points of contacts could be appropriate place where emotional and relational marketing strategies would be applied to. The effects of the procedure "emotional and relational experience
long-term relationship orientation" that fashion customers are experiencing, by forming a path model, two types of experiential effects from emotion and relation were examined. It was found that fashion emotional and relational experiences were important factors because these factors affected a long-term relationship orientation. The findings of the study provide marketing strategy that enables to promote a consistent relationship between fashion stores and customers. Furthermore, this study will contribute to the criteria for segmentation of middle and old aged women's fashion market who have own desire for fashion emotional and relational experience.
The Meanings of Black and White Represented by Dress - Focused on Semiotic Analysis -
Lee, Young-Hae ; Choi, Sun-Hyung ; Kang, Soon-Che ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 49~62
The purpose of this study was to analyze the signification system between color and clothes systematically in black and white clothes. For this purpose, after examining the images of black and white clothes, we selected 55 clothes that represented as black and white and analyzed their meanings and the sources using semiotic framework, based on the work of Saussure and Barthes. The results as follows: First, the meaning in black and white clothes was generated from original color image. White clothes of religious person like Virgin Mary, Angel expressed pure and sacred color image. And black clothes like funeral dress expressed grief and death. Next, the meaning of black and white clothes was regenerated into modern color image by new environment. After industrial revolution, black was considered as a traditional men's fashion color. With diverse leisure activities, white sports wear appeared as active and clean image. Finally the source of the meaning of the clothes was the designer or the wearer. A little black dress by Chanel who was interested in simplicity and function represents an ideal of simple and sexy object. The situation is complicated by the fact that these three kinds of explanation may be found singly or mixed together.
A Study on the Ethnic Minimalism Expressed in Modern Fashion - Comparing with Minimalism -
Chae, Hye-Sook ; Chae, Keum-Suk ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 63~78
Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.
Development of Knit Wear Designs for LOHAS
Jang, Ae-Ran ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 79~92
The purpose of this study is to develop knitwear design expressed not also Green but also LOHAS using natural yarns(wool and cotton) dyed with various natural sources(sappanwood, indigo plant, turmeric, cochineal, coffee, gallnut, and persimmon juice). This researcher tried to suggest solution scheme through the development of knitwear designs to break from the cottage industry and the limitation of design in Jeju and to preserve of traditional dye with persimmon juice simultaneously. Knitting is the formation of a fabric by the interlooping of one or more sets of yarns with hand knitting or industrial knitting. In hand-knitting, the two fundamental stitches are described as knit depending on the direction of the loop formation, front to back or back to front. In machine-knitting, the direction of loop formation is fixed, unless the stitch is mechanically transferred from front to back needle bed or vice versa. Industrial knitting technology can be divided into two main areas - weft knitting and warp knitting. Each has a different principle of construction. The majority of knitted fabrics for clothing are weft-knitted, and so this study is used weft-knitting and hand knitting technology. To achieve this purpose, researcher tried to present a lot of knitwear designs using yarns dyed with various natural sources focusing on Modern & Sophisticated Image and Elegance & Romantic Image to satisfy adult and missy consumer needs.
The Customized Modern Fashion Product Design
Ko, Hyun-Zin ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 93~104
The purposes of this study are to examine the concept of customized fashion product design as a new industrial paradigm reflecting individual customers' needs in modern society, and to grasp its sociocultural meaning. It is thought that this study will be helpful to investigate the cultural thinking of contemporaries represented through the consumption. For this, the documentary study and practical case study have been executed. As modern fashion business becomes more consumer-oriented due to the industrial paradigm shift, there appeared the prosumer as both consumer and producer. The type of customized fashion product design can be classified as 1) the traditional custom-made design in haute couture and classic tailoring 2) the tailor-made design in the prestige line of ready to wear 3) DIY custom design 4) mass customized design of customer involvement. The traditional custom-made design in haute couture and classic tailoring and the tailor-made design in the prestige line of ready to wear is to provide the distinguished product which has the best quality as well as the excellent beauty for VIP consumer. The DIY custom design is for creative consumer searching for the fun of craftsmanship to take part in producing personally. The mass customized design of customer involvement is to personalize product by selecting design module in mass production. Ultimately the sociocultural meaning of the customized fashion product design can be interpreted as (1)endowing special meaning to personal identity (2)distinguishing the privilege by rarefied authenticity (3)returning to analog sensibility 4)pursuing creative fun 5)thinking in a user-centered way.
A Study on the Go-go-kwan(姑姑冠) -With a Special Reference to "Jip-sa(集史)"-
Kim, Mi-Ja ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 105~115
A Go-go-kwan is a particular hat which has worn by married woman in Mongol and Yuan dynasty in China. It is also widely called as a Boktak in Mongol. The Go-go-kwan, recorded in jip-sa and in the miniature painting of 14th century is the early type of go-go-kwan. Later type can be seen from the relic collections of Gyeonggi Provincial Museum in Korea. The Go-go-kwan is composed with three parts ; feather part, tube part and hat part. Among the feathers, the largest one is as long as four times of the length of the tube and the shortest one is half the length of the tube. The tube is made of light weight wood such as white birch or bamboo, and covered with silk. Some of the hats were made exactly to fit on the head whereas others were designed to wear on the head as like jobawi.
A Study on Pobeckchuck in the History from the Sunjo to the Sunjong Dynasty
Lee, Eun-Kyung ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 116~122
This study aims at defining the meaning of Pobeckchuck in the historical view-point, which appeared in the History of Joseon Dynasty, regarding the periods from the ruling period of Sunjo to that of Sunjong as the latter part of history. Pobeckchuck used in King Sejong was redressed in accordance with the measurement in the Kyeonggukdadejeon(code), in which time one Pobeckchuck was 46.80cm long. It is known that Juchuck, Hwangjongchuck, Youngjochuck, Joraegichuck etc. which had been used in the ruling period of Sejong Dynasty, were used till the period of Youngjo. Also, the document shows that in the 12th ruling period of Sunjo, Pobeckchuck was used for measurement, and in the 20th ruling period of Sunjo, newly-made ruler was only used for the measurement of fields, but no more details about how long it was. But according to the document complied at that time, one Pobeckchuck was 46.80cm long, which fact reveals that the same measurement was used as in the ruling period of Sunjo. When all the measurement laws which were established in the 3rd year of Junghee, the 6th year of Kwangmu were abolished, Pobeckchuck was solely banned from its use, which fact offers a glimpse of how confusing at that period was. The comparison and examination among many documents in the latter part of Joseon Dynasty show the differences within about 4cm that one Pobeckchuck ranged from 44.80cm to 48.80cm long. But no other document on measurement appeared in the History of Joseon Dynasty, except for the 46.80cm. Thus, the 46.80cm corrected in the ruling period of Sunjo proves that one chuck in Pobeckchuck adopted by the dynasty was used as the measurement of length till the ruling period of Sunjong.
A Study on the Images of Gold Color in Contemporary Fashion
Kim, Ju-Yeon ; Lee, Hyo-Jin ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 123~130
Symbolizing holiness, wealth and power, golden color was most effective to express the absolute power of royal family and aristocratic society as well as the beauty of magnificent and brilliant authority. Such golden color was understood as the artistic color formed in the dictatorial society as well as the society under the rule of absolute monarch. Thus, it has been used in the costume that symbolizes nobleness, holiness, brilliancy, ethnicity and future-oriented property. In this sense, the image of golden color shown in contemporary fashion was analyzed as follows in this research: First, showing the future-oriented image, golden color expresses avant-garde, cyber and cosmic future-oriented image by using diverse new materials which introduce the state-of-the-art technology sense in addition to metallic textile. Second, getting hint from the ethnic costume of many countries around the world such as brilliant embroidery using golden-thread, ornament with exaggerated technique such as gold foil, mark and character in peculiar tint, the ethnic image of golden color expressed the peculiar color or materials of ethnic costume, handicraft details, etc in golden color. Third, since golden color is expressed in ostentatious image to which elegance and luxuriousness that looks like the work of haute-couture costume of royal family or sensuality that voluptuously expresses the beautiful body line of women are added, the viewers are enchanted or attracted.
Ideal Beauty Represented in Dress - Focused on the Renaissance and Baroque Periods -
Shin, Joo-Young ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 131~148
Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.
A Study on the Wearing Occasions of the Royal Attire in Joseon Dynasty through the Regular rule of Sang-uiwon
Kim, Soh-Hyeon ;
Journal of the Korean Society of Costume, volume 58, issue 3, 2008, Pages 149~162
The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.