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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 60, Issue 10 - Dec 2010
Volume 60, Issue 9 - Nov 2010
Volume 60, Issue 8 - Sep 2010
Volume 60, Issue 7 - Aug 2010
Volume 60, Issue 6 - Jul 2010
Volume 60, Issue 5 - Jun 2010
Volume 60, Issue 4 - May 2010
Volume 60, Issue 3 - Mar 2010
Volume 60, Issue 2 - Feb 2010
Volume 60, Issue 1 - Jan 2010
Selecting the target year
Design of Blue-Jean for Women that Apply Optical Illusion - Focusing on Linear Optical Illusions -
Ryu, Kyoung-Ok ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 1~9
The purpose of this study is to develop Blue-Jean Design for Ideal Body Shape. The final aim of Fashion design is looks beauty of people by optical illusion. This study is based on Gestalt therapy and, is blue jeans design using optical illusion of vertical line for ideal beauty body image. Optical illusion for blue-jean design effect to achieve the ideal body shape. We can accumulate the preceding study for modern clothing from design and the related optical illusion effects. Vertical line stitches have all the advantages especially in pants design. I design blue jeans using optical illusion theory. The results of this study are as follows: First, Vertical line helps that jean has the long body shape effectively. Second, Jeans which have two or more vertical lines is more effective than simple Jean in order to make slim body shape. Third, Appropriate position of horizontal lines can be effective to make long body shape. Fourth, Top stitch, pin-tuck and pleats can be applied to vertical or horizontal lines instead of cutting lines.
Play Costume from the Mural Paintings of Goguryeo
Yim, Lynn ; Lee, Tae-Ho ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 10~25
The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.
Aesthetic Analysis of Digital Art Using Fashion Illustration Software - Focusing on Alfred Einstein's Theory of Relativity -
Oh, Eun-Kyung ; Kwak, Tai-Gi ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 26~43
The inflow of digital technology into the art, especially in the Fashion Illustration since 1990, makes the new aesthetics of the beginning of the 21 century which the Software aesthetics can be called. The meeting of technology and the art make us recall a great scientist and artist, Leonardo da Vinci in the Renaissance that the notion of the art and skill was unified, same as the ancient history. This study is purposed to expand the concept of the art for the broad exchange of the digital technology and art and for the extensive expression method of the modern fashion illustration. Having views on science theory of the beginning of the 20 century, Theory of Relativity which had given a lot of influence in the philosophy, the litterature and the art, as well as all the science, it makes a connection with the history of art in the beginning of the 20 century and the story of the digital art in the beginning of the 21 century. Firstly, the Fauvism and 2D is based on the expression of the glowing and bright color by the Principle of constancy of light velocity. Secondly, the Cubism and 3D is associated with the Special theory of relativity in the cyberspace which the space and the time are totally accorded. Thirdly, the Futurism and 4D is compared with the General theory of relativity which contains the material and the gravity. They are gradually evolved into the Interactive art and the Kinetic art by the digital technology in the profound cyberspace.
Development of House Dress Design Using Kenaf, an Eco-friendly Material
Chung, Sham-Ho ; Jang, Yun-Seon ; Moon, Sun-Jeong ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 44~55
This study was intended to develop some lounge wear ensembles of emotional design by using an eco-friendly material, Kenaf fabrics in line with the contemporary trend of valuing health and environment. With market survey on commercially available indoor clothing ensembles in the market, the designs of lounge wear ensembles being on sale via on/off-line routes were analyzed. Provided by Korea High Tech Textile Research Institute, Kenaf fabrics were employed to make 4 pieces of lounge wear for women (cardigan, T-shirt, slacks, vest) and 4 ones for toddlers. In addition, some housewives in their thirties or forties who lived in Seoul were asked to respond to a series of questionnaires concerning the prototypes made directly in order to evaluate consumer satisfaction with them. Although the consumer awareness of Kenaf fabrics is very low as far, this attempt to present the designs of lounge wear made of Kenaf to young housewives who have a lot of concern for and purchase experiences of eco-friendly materials is meaningful in the light of the possibility to popularize Kenaf which is not familiar as a textile material yet.
Development of Cultural Products Using Baeja of the Joseon Dynasty
Lim, Hyun-Joo ; Cho, Hyo-Sook ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 56~65
It is time to create an image of Korea that uniquely defines and represents the nation to the world, by incorporating Korean traditions with the cultural industry. To this end, it is important to see the beauty of Korean tradition from an academic perspective and further explore its utility from an industrial viewpoint. This study is intended to design uniforms for employees in Korean restaurants at hotels or docents in Korean-styled museums. In doing so, we eyed on Baeja, a Korean traditional vest as the cultural archetype, and created cultural products. As our archetype, we chose two pieces of Baeja : one excavated from the tomb of Suryun Sim (1534-1589) which is displayed in the Gyeonggi Provincial Museum, and the other from Byeon of the Jeonju Lee family (1636-1731) in Suk Joo-Sun Memorial Museum at Dankook University. We also adopted Dapho with a Korean traditional vest with long length. Based on these cultural archetypes, seven products were developed. With the traditional food and way of living in Korea being more and more recognized in the global stage, it would be continuous creation and development of cultural contents with history and story rooted in the cultural heritage of the nation that could enrich our culture by bringing traditions back to the modern days to incorporate the past into the present. It is important to restore traditions when developing cultural products. However, it is also critical to commercialize ideas with stoη and creativity in the market for cultural products.
A Study of Huafu as Expressed in Chinese Contemporary Fashion
Pan, Hong-Yu ; Kim, Ji-Young ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 66~83
Huafu is the traditional clothing of the Han Chinese as the significant cultural symbol of Chinese civilization. The resuscitation of Huafu is an exemplification for the pride of a nation, due to China's rapid economic development and a craze for Chinese cultures. Huafu's resuscitation is not only introducing the traditional design factors of Huafu into the contemporary fashion but also reflects the image of Chinese style created to modernize works. Through the study of the history of Huafu, it could be summarized that Ruqun(Zu-chin), Shenyi(Shen-yee), and Shan were the most important and typical types. The characteristics of Huafu were primary colors or strong contrast with achromatic colors, flora and fauna patterns, and geometric patterns. The clothing aesthetic of Huafu could be summed up as spacious, delicate, gorgeous, clandestine, and unconventional character. There were lots of elements in Huafu that could provide inspiration for contemporary fashion designers, such as forms, colors, patterns, details, and also the aesthetic. Based on the analysis of the Chinese designers who applied the elements of Huafu into contemporary fashion design, it could be recognized that the Chinese designer's works were made using the elements of traditional Huafu directly or using new fabrics and techniques to give a modern sense, but also embodies the Huafu's clothing aesthetic at the same time. In the wake of the resuscitation and publicity of Huafu, the essential factors of Huafu will be able to provide inspiration for designers not only for Chinese but also around the world.
Characteristics of Makeup Design Revealed in Perfume Advertisements - Focusing on Advertisements in the Magazines Anna Sui and Bulgari Since 2000 -
You, Sun-Mee ; Oh, In-Young ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 84~98
This study aims to present basic materials to promote the importance of make-up design in advertising images and designing effective perfume advertisement by looking at features such as colors, forms, patterns, and material feels, the elements of make-up designs shown magazine advertising images for various perfume brands. The features of make-up designs shown in Anna Sui and Bvlgari perfume advertisements are as the following. Among 9 images in Anna Sui advertisements, 5 displayed mat-like skin feels. Among shadow colors, brown colors accounted for over half, 5 out of 9 while pink colors accounted 5 out of 9 for cheek make-up. Among 7 images in Bvlgari advertisements, pale blue skin colors accounted most, 5 out 7. 4 out of 7 displayed mat-like skin feels and 4 out 7 were in pink colors for lip make-up. Anna Sui brand was found to use a bold and unique makeup design for each perfume advertisement according to the designer's fashion orientation tendency to pursue unique, vintage-style, and romantic images whereas Bvlgari focused on make-up to emphasize elegant and refined female beautify according to the company philosophy of pursuing elegant and high-class images. Namely, it was determined that the BI(brand image), the images a company pursues is related to the MI(make up image), the make-up images in advertisements.
A Study of Appearance Management Behaviors and Body Exposure Attitudes according to Sex Role Identity
Kim, Hyun-Jeoung ; Lee, Myoung-Hee ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 99~109
The purpose of this study was to examine the differences of appearance management behavior and body exposure attitude according to sex role identity. The method of this study was a survey research method by questionnaire. The subjects were 632 college students (male: 302, female: 330) living in Seoul area. The data were analyzed by SPSS program. Analysis methods used were frequency, factor analysis, Cronbach's
-reliability coefficient, one-way ANOVA and Duncan's multiple range test. The subjects were divided into 4 types of sex role identity: androgynous, masculine, feminine, and undifferentiated type. The female androgynous group had skin care the most, while the male androgynous type had clothing management and weight control the most among the 4 types. Both male and female androgynous groups had hairstyle care the most. Both the male and female masculine groups wore chest exposing clothes the most, while the female masculine type wore shoulder exposing and leg exposing clothes the most. The female androgynous group showed the highest appearance management expenses.
A Study of Fake Design in the Fashion of the 2000s
Park, Eun-Kyung ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 110~122
The purpose of this study is to analyze the expressional traits and internal meanings of fake design in the 2000s' fashion, based on study of art and design area. For achieving the purpose, this study performed related research works and a demonstrative analysis of fashion collection photographs. The scope of this study is from 2000 to 2009. The results are as follows. Fake design uses trompe-l'oeil which is an art technique related to the meanings of 'deceive or fool the eye'. This eye-deceiving technique has been used for a long time in the art, and particularly noticed as one of techniques of Surrealism. Art works using trompe-l'oeil express familiar and unreasonable world at the same time, and also the fusion of reality and fabrication. Fake design in design area of the 2000s makes people take daily life in unfamiliar way by unusualness and breaking the boundary between real and fake. By fake design, people can enjoy fun and a sense of freedom with amusement rather than unpleasant of being deceived. Fake design in the fashion of the 2000s uses eye-deceiving technique and also focuses on the concept of 'fake'. The expressional traits were categorized as realistic expression, surrealistic expression and fake value expression. The internal meanings were analyzed as breaking boundary between real and fake, rediscover dailiness, new attitude to traditional thinking. In conclusion, fake design in the fashion of the 2000s gives playfulness, fun, feeling of release and will be pursued continually.
The Institution of Court Costume in the Year 1900 (the 4th Year of Korean Empire Gwangmu) and the Symbolism of Mugunghwa, the Rose of Sharon Pattern
Lee, Kyung-Mee ;
Journal of the Korean Society of Costume, volume 60, issue 3, 2010, Pages 123~137
The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.