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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 59, Issue 10 - Dec 2009
Volume 59, Issue 9 - Nov 2009
Volume 59, Issue 8 - Sep 2009
Volume 59, Issue 7 - Aug 2009
Volume 59, Issue 6 - Jul 2009
Volume 59, Issue 5 - Jun 2009
Volume 59, Issue 4 - May 2009
Volume 59, Issue 3 - Mar 2009
Volume 59, Issue 2 - Feb 2009
Volume 59, Issue 1 - Jan 2009
Selecting the target year
An Analysis of the Visual Image of Villain Characters - Focusing on Korean Films Since 2000 -
Lee, Hye-Joo ; Jeon, In-Mi ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 1~13
The villains in recent films are given interesting roles not only through the actual contents of the story but also by attractive personal characteristics including internal and psychological aspects. The purpose of this paper is to take a deeper look into the image styling process of villain characters. The cases will focus on seven representative Korean films that have attracted over one million audiences as of the year 2000, and the leading and supporting actors within those films. Analysis will be made mainly on the visual image creations of those villains. The visual images are categorized by the make-up, hair-do, clothing and accessories relevant to the psychological personality type of each actor's role and their background based on the given scenarios. The results are as follows: First, villain characters are portrayed as an individual with multiple personalities with regards to psychological, economical, and vocational aspects. Second, fashion trends of the character is an important element to keep pace with the times or to visualize the sense of the times in which the villain exists. Third, a specific point that characterizes the villain's character are expressed through various touches using noticeable accessories, specific colors in make up, hair style, and a certain fashion.
Effects of Gender and Education on the Perception of the Exotic Fashion Image
Jeong, Yoo-Jene ; Chung, Ihn-Hee ; Choi, Soo-Hyun ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 14~28
Exoticism, by definition, is 'the charm of the unfamiliar', usually because of associations with a distant country. In the western-centric world, exoticism implies non-western or oriental style. The purpose of this study was to identify Koreans' perception of "Exoticism", and to compare the perception of exotic fashion image according to gender and education differences. Empirical study was composed of two parts focusing on gender and education effects respectively. For the first part, data were collected by self-administered questionnaires distributed to 280 respondents at 2 universities and 2 high schools during August and September 2005. The sample was consisted of 140 male and 140 female. A measurement, including 24 image adjectives to evaluate 16 fashion stimuli, was developed. Data were analyzed by descriptive statistics, correlations, t-test, and MDS. There was no difference in the perception of exotic fashion image according to gender. Both gender groups perceived exotic image as western image and non-exotic image as oriental image. Thus it could be said that Koreans perceive western-based fashion as foreign and exotic. This finding implies the relativity of "Exoticism." In the second part, the measurement and the analysis methods were the same with the first part. The respondents were consisted of 70 fashion majored female students and 70 non-fashion majored female students. There was considerable difference between fashion and non-fashion major groups in their perception of exotic fashion image. Whereas non-fashion major group perceived exotic image as western image and non-exotic image as oriental image, fashion major group perceived exotic image as both western and oriental image. This result suggested that fashion major group have western-centered conception as well as general perception character of Korean.
A Study of the Symbolic Meanings and Characteristics of Makeup in Beijing Opera
Moon, Jung-Eun ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 29~46
Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.
The Development of Face Cover Designs to Activate Outdoor Life
Kim, Chan-Ju ; Ro, Mi-Kyung ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 47~59
This paper aimed at the development of face covers which is face protection articles for blocking UV rays and yellow sands, with a view to assist the further activation of outdoor life. The four-stage design process of field study, design, design evaluation, final selection of designs was set up for the effective product development. Field study included on-line and off-line market survey on the products for sale in market and observation on those wearing face covers. Depth interviews were done to know consumer understandings and satisfaction levels for current face covers. The results of market survey showed that most of the face covers currently in the market were mask types, which were produced for the blocking of dust and yellow sands rather than UV ray protection. The major clients of the mask were the women in their 30's-50's and the designs for these clients were very limited. Since the number of younger women and men enjoy the outdoor sports has increased, the face covers for these people should be developed. For this purpose, the direction of new face cover design had 2 points: diversification of design in terms of color, material, shape and giving seasonal differences. 12 designs were designed on the first design stage, but after both wearing test by 16 testees and UV ray blocking test to evaluate these designs, 6 face cover designs were finally selected.
An Iconological Analysis of the Fashion Works of Vivienne Westwood
Yun, Ji-Young ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 60~76
The purpose of this study is to present the viewpoint on the 'clothes' as a part of art works which has the kunstwollen(artistic will) and the philosophy of a creator rather than just an outfit. For the literary research, this study investigates the history of Iconology and the E. Panofsky's theory. In order to make up for the limitation of Panofsky's iconology, applies the theories of H. Gombrich and N. Goodman. For the case research, Vivienne Westwood is selected because her fashion works have been mentioned as the artistic pieces by many fashion critics or the presses. Also Westwood has different social and cultural contexts which based on the periodic background, social influences and cultural actualities. The conclusions of this study are as follows. First, in order to read the symbolic meaning, the kunstwollen and the aesthetic consciousness of the fashion designer's works properly, the systematized interpretation method is necessary. Second, the creative works of Vivienne Westwood have been influenced by the various external elements. Especially her national background and identity are the main elements which have governed her creation. Third, Vivienne Westwood creates her works not just to wear but to incorporate the ideology and the philosophy of herself. She expresses the kunstwollen and the aesthetic consciousness through her works. Forth, Vivienne Westwood pursues the communication between the human being and the world. Fifth, fashion makes various attempts to combine with different artistic fields. The 21st century fashion has developed to new direction with diverse trials and combinations. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.
An Analysis of the Fashion Collection of Hussein Chalayan
Yun, Ji-Young ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 77~93
The purpose of this study is to analyze on the fashion collection of Hussein Chalayan who has changed the concept of fashion design in the 21st century and has pioneered in the new vision of fashion. This study will give a new perspective and perception of fashion as a conceptual and ideological art. The conclusions of this study are as follows. First, Hussein Chalayan's multicultural ideas and interdisciplinary approaches which based in national speciality are the unique elements in his works. Second, Hussein Chalayan intends to present his works as an expression of conception. He has expressed the clothes which speaks the form of nature, symbolizes the combination of culture, visualizes time and space and investigates the existence of human being. Third, Hussein Chalayan has asked an endless question about existence of the human being. Furthermore, He has put a question about the relationship between time, space, history, nature and the human being. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works of art makes him as the designer who represents the 21st century. Forth, Hussein Chalayan pursues the communication between the human being and the world. His works is made for human being and makes the human life as valuable thing. Because the clothes is completed when the human wears it, it can not exist without the relationship of human being. Fifth, Hussein Chalayan makes a various attempt to combine with different artistic field. Fashion has developed to new direction with diverse trial and combination beyond fashion field and this has to be a direction in the 21st century fashion. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.
The Development of Patterns of Jeogori to Enhance the Fit - With a Focus on Women in their 20s and 30s -
Kang, Kyoung-Hee ; Choi, Jeong-Wook ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 94~105
Jeogori, Korean jacket, can be categorized into two styles. Traditional style Jeogori is based on conventional construction method for ceremonial or festive occasions. Contemporary casual style Jeogori is based on western style flat pattern making for better fitting and functionality. Traditional style Jeogori is quite flat on human body because it is not considered the grade of shoulder line and is drawn by vertical & horizontal line. This characteristic feature causes weakness in functionality and comfort compared to contemporary casual style. Apparently contemporary casual style has better wearing comfort. Yet to most Koreans, contemporary style Jeogori seems to lack of some characteristic style of its own. This study is to find out how to make Jeogori well balanced in terms of functionality, fit, comfort and traditional style. Currently used Jeogori patterns are compared in order to select the best among them. Onto the selected pattern, several alterations were tried focused on shoulder, armhole and sleeve lines to make optimal modifications. After several comparative fitting tests, the final pattern making method was suggested.
A Study on the Evolution of Image Making through Costumes in the '007' Film Series
Jang, Sung-Eun ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 106~118
This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.
A Study on Intraculturalism in 21st Century Fashion
Yang, Sook-Hi ; Chung, Se-Hui ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 119~135
The purpose of this study was to examine formative aesthetic characteristics and aesthetical value of the intraculturalism expressed in contemporary fashion and to confirm the functions of intraculturalism to establish, visualize, perform the racially indeterminate, ethnically neutral, culturally diverse or ambiguous identity. For this study, the applications of the intraculturalism shown in mass media and consumer culture, such as music, fashion advertisements and collections of high fashion designers from 2004 to 2008 have been analyzed and compared. The results were as follows: The Intraculturalism is reflected in the muticultural music such as Afropean, Jawaiian, Reggaeton and Asian Hip Hop. Intracultural music genres create the hybrid music and fashion culture through mixing, matching and blending one and another culture. Advertisement campaigns for Louis Vuitton, YSL Beauty, Gap and H&M stores have all purposely highlighted models with mixed racial heritage. It is reflected in the latest youth fashion market trend using face that are ethnically ambiguous. The increasingly multiracial, multicultural population is due to intermarriage and waves of immigration. The rising mixed race designers, Narciso Rodriguez, Hussein Chalayan, Vera Wang and DooRi Chung, not only compromise and amalgamate different cultural elements of their heritage and contemporary life but also create new look and fashion image. The characteristics of intraculturalism expressed in the 21st century fashion could categorized into de-genre, de-nationality, de-race and de-culture.
A Study on the Inner Structure of Men's Casual Jackets
Park, Sang-Hee ; Park, Jin-Hee ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 136~145
Growing needs of reducing energy consumption and enhancing creative thinking brought expanding of men's business wear market into more trendy and casual sector. As fashion trend of men's business wear has changes to casual jackets, there is need to study for the inner structure of casual jacket. The inner structure of casual jackets are different from conventional tailored jackets so that they can provide more comforts, functionality and characteristic style. The purpose of this study is to find out how the inner structure of casual jackets are made up by comparing jackets of various brands. In order to categorize the construction methods, where, how and what kind of lining, interlining, sleeve heads and shoulder pads are applied were studied. Although there are considerable varieties in making up methods, it could be concluded that casual jackets have lighter and less time and labour consuming inner structure, i.e. partial linings, fusible inter-linings, ready made sleeve heads and shoulder pads.
Implementation Strategies of Hair Salons for Mass Customization
Kwon, Tae-Shin ; Kim, Yong-Sook ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 146~158
The purpose of this study was to identify hair salon's implementation strategies and current service condition for mass customization. The questionnaire was composed of 82 questions. 115 hair salon's directors were subjects of this study. The results were as follows: Hair salon's mass customization strategies were categorized into 6 factors such as staff's technique, communication service, electronic products, monetary support, man-to-man service, and dissatisfaction removal service. Hair salons were categorized into 2 groups of a high implementation group and a low implementation group. A high implementation group had a higher monthly sales and more regular customers and staff. The hair salons were franchises and were more spacious in the high group. They were located at fashion street, department store, or outlet mall, and offered fashionable hair styles. However, a low implementation group had a lower monthly sales and less regular customers and staffs. The size of hair salon was small in the low group. They were located in residential areas and offered basic hair styles.
A Study on the Construction of Pungcha Baji - Focusing on the Books Entitled "Hanbok Construction" -
Kim, Chung-Ho ;
Journal of the Korean Society of Costume, volume 59, issue 1, 2009, Pages 159~167
Based on instructions in the textbook "How to Construct Korean Costumes" which I authored, my university students were required to make Pungcha-Baji(Korean traditional pants for children) for one-year-old boys. While examining the students' construction, I found that the side seams of the vest and pants did not line up but were improperly twisted. It was found that the pants did not cover the child's backside because the width of the back was smaller than the width of the front when one of the side panels and the large center panel in the front was half the size of the hip and one of the side panels and the small panel in the back was four fifths of half the size of the hip. Although there were differences between the waist size of the pants and the bottom hem of the vest, the textbooks instruct that the amount of material and the number of pleats(i.e. 4 pleats) on the pants and the vest should be the same. Finding this mistake led me to investigate Pungcha-Baji construction in related textbooks. Thus with the textbook instruction, the side seams of the pants and the vest do not match and are improperly twisted. Hence, as a solution, the pleats should be made and adjusted after matching the side seams of the pants and the vest. The purpose of this study is to examine currently available Pungcha-Baji related textbooks and determine the correctness of their instructions and to ultimately provide correct construction methods for Pungcha-Baji pattern for academic purposes.