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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
Theoretical Inquiry into the Relationship between Fashion and Art -Focusing on the Relationship between the Artist and Fashion, and between the Fashion Designer and Art-
Shin, Joo-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 1~12
This study begins by establishing the theory that paintings serve as a visual documentation of a particular era and record the ideal fashions and customs about dress behavior through the costumes represented in them and examines the close relationship between fashion and art, focusing on the influence of art on fashion, as well as that of fashion on art, for both painters and fashion designers. To attain the goal of the study, the selected objects of study are written references and dresses represented in paintings produced in the 19th century. Painters who were the subject of documentation created or popularized new fashion styles before the concept of 'fashion designer' was introduced in history. In order to capture and represent the ideal beauty of certain period, painters understood the important role of fashion. Their work not only included the designing of costumes or accessories for the sitters, but also the spreading of new fashion styles by showing the sitters wearing them. Study of the mutual relationship between fashion and art grew more vigorous among many intellectuals in a variety of fields beginning in the 19th century. The standing of fashion was elevated and the concept of the 'fashion designer' was introduced and the interest in the themes of a specific style or the background of a trend increased during this time period. Many contemporary fashion designers created dresses inspired by the costumes represented in paintings. The result of this study which focuses on the relationships between fashion, artist, fashion designer and art is that connection between fashion and art is closely and firmly formed. For several hundred years, painters were the creators as well as promulgators of fashion and fashion designers, from the 19th century until today, have obtained their creative inspiration from art.
A Study on the Patterns of Baekje Accessories
Suh, Mi-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 13~29
This study analyzes the patterns of Baekje accessories, including pattern kinds, symbolic meanings and pattern types. And also this study shows the characteristics of accessory patterns and gives a chance for reflecting upon the patterns of Baekje costume. This study is qualitative research using documentary records related with the accessories of Baekje and evacuated data. The results of the study are as the followings: First, the kinds of patterns were classified four groups, floral, animal, geometrical and other patterns. Also, the symbolic meanings of its were authority, prolificacy, longevity and protection against evil spirit. Floral pattern was expressed most frequently. Second, the types of patterns were classified two groups, individual and compound type. Both of them was variously expressed. Third, The major material was copper with gold. Most work techniques were boring and hammering. The patterns were the composition of floral or animal patterns as a main design and geometrical patterns as a section or border design. Forth, the expressive characteristics of Baekje accessory patterns were to prefer floral patterns and to express symmetrical composition of patterns, therefore the patterns of Baekje accessories showed their esthetic sense like elegance, mild, serenity, a sense of stability and the sense of balance. In conclusion, the expressive characteristics of Baekje accessory patterns would be expressed on the Baekje costume.
A Study on Academic Costume Design -Focusing on the Design of Academic Costume Representing the University Identity of Seoul Women's University-
Chun, Hei-Jung ; Na, Hyun-Shin ; Lee, Kyung-Ah ; Lee, So-Ryung ; Kim, Hee-Kyun ; An, Chang-Hyun ; Park, Jin-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 30~46
This study aims to develop an academic costume design representing the university identity of Seoul Women's University. As a formal dress and uniform symbolizing the dignity of study, academic costume arouses self-esteem of the owner and represents the symbolic order. UI(University Identity) is a system that embodies the identity of the university and create a certain image, and thus actively delivers the image pursued by the university. The study method to develop a new academic costume design of Seoul Women's University includes the theoretical background of UI and academic costume, investigation on the current rendition of academic costume, home and abroad, and a survey to collect the basic data for academic costume design development. Most of the respondents presented negative opinions on the existing academic costume and graduation cap, which do not show any clear distinction from those of other universities. They made a pressing demand for the development of an academic costume that well represents the image of the university by reflecting the university feature and symbol. As a result of the survey, it turned out that they preferred an academic costume with short length balloon sleeves to the exiting one, and that as for neck line and front hook, those of the existing one were preferred. This study developed and presented 9 different models of graduation gowns and 5 different caps based on the theoretical investigation and survey concerning academic costume. It is expected that the academic costume representing the university identity not only arouses self-esteem of the owner, but also enhances the university's position.
A Study on the Development of Pants for Daily Use Appropriate for Korean School Girls aged 6 to 11
Lee, Hyun-Ok ; Cho, Kyeong-Sook ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 47~62
The purpose of this study is to develop a basic sloper for pants that would be appropriate for young Korean school girls between the ages of 6 to 11 years old. Pants available in the apparel market for children do not properly correspond to the body size of the target consumer group. This research explores the characteristics of the body size of the group and also identifies problems of the conventional pants sloper that would be generally used for the production of children's apparel. Ultimately it presents a basic sloper for a possible use for manufacturing. The basic slopers for pants were collected from three different companies and were the examples used for this study. An experimental pants sloper was developed, reflecting the average body size of a nine year-old girl, which Is thought to be the master size for grading in children's wear Four different cotton prototype pants were made based on the three companies' slopers and the experimental one for evaluation of the fit and overall shape of the pants on subjects. The results revealed that the design, fit, and overall look of the experimental pants was superior to that of the opposing companies' product. After alteration of the experimental sloper, a basic pants sloper was finalized. The finalized pants sloper was determined at W/4+1cm for the front waist and W/4+2cm for the back, H/4+0.5cm for the front hip and H/4+1.5cm for the bark hip, and 73cm for its length with 15.5cm and 18cm for its front and back pants width at the bottom, respectively.
Manufacturing Process and Technology of Korean Costumes Made of Fur and Loather
An, Bo-Yeon ; Hong, Na-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 63~73
From the ancient Korea to the late Joseon Korean fur and leather had been preferred in and out of Korea for their good quality and excellent manufacturing skill. Since Unified Silla (A.D.676
A.D.936) Korean fur and leather were manufactured divisionally by workmen specialized in materials and products, and such manufacturing process was succeeded to Goryeo and Joseon. Manufacturing of fur and leather was consisted of as follows: hunting and butchering - peeling - beating with a paddle and removing fat - oil manufacturing - drying - tanning, then cutting and sewing, and there was a special caring method. In order to make good fur and leather, each process of manufacturing needed particular techniques and all available methods were tried to have tender fur and leather by using smoking, excrement, lime, vegetable tannin and even cerebral liquid. And also required mouth-chewing and hand-pounding with a lot of time and of labor Keeping furs resilience and flexibility, sowing several skins together, even when the after-all-process skin was converted into clothes, was much more difficult than sewing fabric. Thus, the manufacturing cost was as much expensive as skin materials, and the volume of manufacturing of fur and leather was also limited. Therefore, fur and leather must have been popular for scarcity value in the manufacturing process, and this scarcity must have caused an extreme luxury of fur.
A Study on the Expression of a Trance Aesthetic Consciousness of Continuity in Contemporary Fashion
Yang, Hee-Young ; Lee, Kyung-Hee ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 74~90
Since the late of 20th Century, philosophy, art, and aesthetics have attention to the movement of object that persue the dynamics and qualitative change, not existing fixed and quantitative object. Qualitative continuity, including discontinuity of specific spot and surface that occurs sudden change, is distinct characteristics considered in contemporary logo civilization, which combines and disperses according as various purpose among the different elements and objects. Therefore, I studied about the characteristics of qualitative continuity that creates the change and the differentiation continuously through the "formative characteristics of the continuity expressed in contemporary fashion" of my preceding paper. This paper is the following study of above mentioned paper, and Investigates about aesthetic consciousness leading to the various change. This is intends to consider the trans-aesthetic consciousness that accepts dynamic movement and change the different object and reforms new relationship continuously. This studies' conclusion is as follows; 1) sublimity-Infinity, de-constructive, excessive 2) jouissance - functional, structural 3) paradox-perceptual, spatial. A study about the trans-aesthetic consciousness would help to offer philosophical basis, and make a change building aesthetic foundation in explaining various relationship like as phenomenon of the retro, neo, post, fusion expressed since the late of 20th Century.
A Study on Post-formal Spatial Expression in 21 st Century Fashion Design
Yang, Hee-Young ; Kim, So-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 91~105
Spatial multiplication phenomenon, expressed through de-constructive trend since the late of 20C, have got changed existing fixed and dis-variable space to smooth, fluid, and changeable space. Ex-form and fluidity of new spatial paradigm have been focused through lots of scientific theories studied between digital thought and indeterminacy and rankless nature phenomena. In 21C fashion, indeterminate and irregular form and space have been crested continuously, which could not explain simply according as the fluidity theory Different from the space crested for multi-function and multipurpose, this is revealed the characteristics of chaosmos that communizes the order and the disorder, deconstruction and creation. Ex-formal space of fashion have shown the relationship of de-centerizing, de-territorial, and do-structural phenomenon among different fashion elements. This paper intends to understand the concept of ex-form, and study expressive manners of ex-formal space of 21C fashion, and conclusion as follows. 1) Overlap changes single space of fashion to multi-layered space through the repeat system of pleats, origami, and folding. 2) Ex-gravity expressed in deviation of the gravity acting vertical direction, for example, twisting, curve, winding, portion. 3) Morphing is shown the change process from single fixed form to different complex form. 4) Blurring is expressed in re-combination and re-arrangement among elements of fashion. 5) Blob shows hybrid fashion space through the liberal compounding and separation of a lot of different elements.
The Grotesque in the Work of Alexander McQueen
Kim, Sun-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 106~119
This study explores grotesque characteristics that were raised as the Aesthetics of the Ugly and how it was featured in Alexander McQueen's arts. In a methodological approach, the study attempted the analysis of historical literature that was published both nationally and internationally, along with justifiable investigation using fashion/collection magazines such as Vogue, Gap and Internet search. The scope of this study ranges from 1996's Haute Couture and Pret-a-porter collection pieces modern, to date The results of this study are summarized as follows: The first grotesque characteristic present throughout Alexander Mcqueen's arts is that it featured horrifying images or evil motives with pointy heads or horns, dark colored dresses, silver accessories, Dracula, witches, skulls, soldiers of evil, death and sickness. Second, aversion was realistically portrayed by frightening objects, extreme intimacy and motives that signify death and closely relative to cruelty to human bodies. It also became visible with physical destruction of the bodies and dissecting of internal organs, etc. Thirdly, its expression of humor is out of common sense with distorted human bodies by intentionally overemphasizing certain portion of the clothes or body parts. It also featured strangely deformed bodies by ignoring the typical shapes of clothes, vague definition of gender and using of unusual objects. Forth, half-man and half-beast images are portrayed using various types of bird species or animals to Identify disparity. It further defined this image in the form of non-human cyborg by incorporating technology.
A Study on Sewing Methods of the Joseon Period -Focusing on Reinforcing the Opening of Clothes-
Ku, Nam-Ok ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 120~136
This study examined sewing methods used to reinforce the opening of clothes of the Joseon period. Through the analysis of a total of 117 clothing items of the Joseon period, the following results were obtained. 1. Most costumes of the Joseon period had the opening. The purpose of the opening was to allow one to put on and take off a costume, act comfortably, and turn a costume Inside out. The opening was located on the Side, Conte. Back, fgwi(Side opening of pants), Wristband, Armhole, and Godae(the bark part of the collar). 2. As the opening tended to get easily worn out, it was often reinforced. The 1911owing three methods were used to reinforce the opening of clothing items of the Joseon period: a method to attach a cloth such as Dang, Binding, and Badae; a method using a variety of knots; and a method by sewing stitches such as a sort of cross stitch called Satteugi, Prick stitch, and Loop. 3. The most frequently used reinforcing method was the one that used a knot(34 items), followed by the one by sewing Satteugi(27 items), and the one using Dang(25items). The most frequently detected location of the opening was Side(59 items), followed by Agui(37 items), Wristband(19 items), and Center Back(13 items). 4. The reinforced opening made a costume more endurable and elastic, decorative and neat.
A Study of Pop-art Fashion, from the 1960's to the Present
Choi, Soo-Ah ; Kim, Min-Ja ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 137~157
The purpose of this study is to acquire clear understanding of classic Pop art, and furthermore, how it evolved within the art and fashion industries in relations until present days. Throughout the studies, it was inevitable to find that there needs to be additional traits to Richard Hamilton's famous quote regarding the definition; "Pop Art is: Popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business." Distinctively, though Pop art is continually evolving, sustaining, costly, authentic, and, adaptable for all ages. Pop art's varying influence continued, and Neo-pop, Japanese Neo-pop, les Nouveaux pop, Post-pop art appeared with progression. These transformed Pop arts share similar contexts with the Classic Pop art; and yet, it is inevitably more narrative, and has diversity in sources and expressions. If the Classic Pop art's been mostly flourished in the United States, new Pop arts are well established in various countries with individualities. Indeed, Pop art influenced the fashion world with attempted young and sexy looks with pastiche characters. In the 1960's, "Mods", "Teddy Boys", and "Hippie" styles became popular, and fashion trend started trickling up. Various usages of fabrics and uncommon materials were popularized due to the advanced technology and Pop art. Recently: 1) classic Pop art's been directly applied to fashion, 2) it's been reflected in more various motives and techniques 3) Neo-pop artists and designers wire involved with collaborative efforts. Undoubtedly, Pop art still remains popular for those who seek for fun; and so-called "Kidult" and "Peter-Pan syndrome" are closely correlated to the fundamentals of Pop art.
Knitwear Purchase Motives and Consumer Satisfaction
Lee, Myoung-Hee ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 158~169
The purposes of this study were to Investigate the relationships between knitwear purchase motive and female consumer satisfaction, and to reveal how knitwear purchase motives and demographic variables influence the consumer satisfaction. The subjects were 263 female college students and working women residing in metropolitan area of Seoul. The data were analyzed by using descriptive analysis, factor analysis, Cronbach's
-reliability coefficient, t-test, Pearson's correlation coefficient, and multiple regression analysis. Five dimensions of knitwear purchase motive were derived by factor analysis; expressive, others' influence/deficiency, quality/social, situation, and utility motive. Consumer satisfactions were classified into 3 dimensions; appearance, practicality, and quality satisfaction. The expressive motive had significant positive relationships with the satisfaction of appearance and quality satisfaction. The quality/social motive had positive relationships with the satisfaction of appearance, practicality, and quality. Utility motive had positive relationships with the satisfaction of appearance and practicality. Working women had higher situation motive and quality/social motive than the female college students had. The higher the age was, the higher the score on situation motive and quality/social motive were. The higher the social class was, the higher the score on expressive motive was. The higher the income was, the higher the score on appearance, practicality, and quality satisfaction were. The consumer satisfaction of knitwear was influenced most by the quality/social motive and next by the expressive motive, the income, and the utility motive in order
A Study on Costume and the Image in Film -focusing on the Movie 'The Devil Wears Prada'-
Yoo, Seon-A ; Kim, Mi-Young ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 170~183
The purpose of this study is to analyze the characteristics of different images of movie costume centering on the actresses. The perfect examples are the characters from the movie "The Devil Wears Prada", in which the film is about the fashion leaders of the world. This study consists of visual data as well as images including some scenes from the movie. The sources were collected from relative media, articles in journals, internet sites relating to the movies and photos and we have analyzed differentiated each of the character's wardrobes and its characteristics appearing in each image. The result of this study is as follows. First, the characteristic image of Andy, the main character (Anne Hathaway) in the movie changed dramatically. Andy'swardrobe is focused on the character's makeover in the movie as the character changes from a slob dresser to an assistant of the editor-in-chief of the number one fashion magazine in the world. Each scene definitely shows different styles of the latest premier designers' clothes and accessories. On the other hand, Miranda Priestly appears as the fashion leader and icon throughout the whole movie. Her career look in each scene was very chic and sophisticated in the office while her party dresses were sexy and glamorous in the movie where she was at many of the promotion parties and events. The second analysis of characteristic images of movie costumes is comparing the styles of Andy, Miranda and Emily(the other assistant of Miranda). Andy's wardrobe was divided Into two situations-before working for the magazine and while working for Miranda. As Andy's wardrobe began to upscale, the clothing images of Emily and Miranda became less fashionable. As a result of this study, the movie costumes played a vital role in expressing the changes and differentiating each character's images.
A Study on the Formation and Development of Beob-Lak of Won-Buddhism
Kim, Hye-Sun ;
Journal of the Korean Society of Costume, volume 58, issue 8, 2008, Pages 184~199
This thesis aims to examine the formation, and the religious meaning and symbolism of Beob-Lak, which is attached to the preacher's clothing as a full dress of Won-Buddhism, which, as a new religion, was originated in Korea's historical foundation in 1916. In addition, it tries to provide the basic data for the study on Korean religious costume by examining Beob-Lak in the context of social atmosphere of Korea, which has accepted various religions. As a result, I found that Beob-Lak was originated from the different colored lines of the early Japanese Buddhist religious costume and it employed rochza as an independent component, but that the present protocol of Beob-Lak was completed by the first Jongbeobsa Jeongsan Jongsa in the late 1950s and all the religious workers have put it on with the religious costume in great worships since the early 1980s. Beob-Lak of Won-Buddhism, which employs Ilwonsang Beobsinbul as the symbol of its religious doctrine, symbolizes the succession of Beob and represents the will to repay the teacher's favors to hand down the great truth. At the center, Ilwonsan(one round shape) is the symbol of the innate place for everything in the universe, and its yellow color symbolizes the highest nobleness. I expect to see following researches which deal with the costume of Won-Buddhism from various views on the basis of this study on the formation and development of Beob-Lak, which is the symbol of formal full dress of Won-Buddhism as Korea-style new religion created over 90 years ago.