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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 65, Issue 8 - Dec 2015
Volume 65, Issue 7 - Nov 2015
Volume 65, Issue 6 - Sep 2015
Volume 65, Issue 5 - Aug 2015
Volume 65, Issue 4 - Jun 2015
Volume 65, Issue 3 - Apr 2015
Volume 65, Issue 2 - Feb 2015
Volume 65, Issue 1 - Jan 2015
Selecting the target year
A Cross-Cultural Study of Facial Awareness, Influential Factors, and Attractiveness Preferences Among Korean, Japanese, and Chinese Men and Women Evaluating Korean Women by Facial Type
Baek, Kyoung-Jin ; Kim, Young-In ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 1~14
DOI : 10.7233/jksc.2015.65.3.001
The purpose of this study is to identify cross-cultural features among Korea, China, and Japan by comparing differences in facial awareness, attractiveness preferences, and consideration of facial parts in a group of Korean, Chinese, and Japanese men and women as they evaluated the faces of Korean women in their 20s. A survey was conducted targeting male and female Korean, Chinese, and Japanese college students in their 20s. Frequency analysis, ANOVA, Duncan test, factorial analysis, and reliability analysis, MANOVA were carried out using SPSS 18.0. The results of this study are as follows: Faces of Korean women in their 20s were evaluated by Korean, Chinese, and Japanese men and women in their 20s and were classified into four categories as 'Youthfulness', 'Classiness', 'Friendliness' and 'Activeness'. Differences in facial image awareness were observed depending on nationality and gender. Korean participants were found to place importance on overall morphological factors; The Japanese focused on the eyes; and the Chinese on the skin color. Women of all nationalities showed, on average, a higher awareness of facial parts than men. No significant differences in facial attractiveness preferences were found based on nationality or gender, but there were differences in how the participants evaluated faces for attractiveness, showing that reasons for preferences may vary even if the preferences are the same.
A Study on Marchande de Modes in the late 18th Century France
Choi, Yoojin ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 15~27
DOI : 10.7233/jksc.2015.65.3.015
This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi
re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi
re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi
re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.
The Changeability of Fashion Style Using the Concept Expressed in the Mobility of 'la Différant' Play and Supplement Logic
Park, Shinmi ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 28~46
DOI : 10.7233/jksc.2015.65.3.028
The aim of this research is to classify the concept expressed in the mobility of la diff
rant play, and supplement logic, which is process of the changeability of fashion style. The specific research questions are as follows: first question deals with the relationship between changeability and la diff
rant images, and how la diff
rant images are divided by each phase and how their circumduction play is proceeded. The second question is about the important features of the mobility of la diff
rant play and the method of la diff
rance play. The last topic of this study covers the supplement logic and the condition, and how supplement logic has been applied in the process of changeability of fashion style. This paper deploys a qualitative research method providing a systematic review of the previous studies. To sum it up, the mobility of la diff
rant play is the root of power, which is controlling the changeability of fashion style, and the objective of the play is to outline new la diff
rant images through spatialization of time. In addition, supplement logicis the method of la diff
rant play and the purpose of the logic is to harmonize 'ultimate la diff
rant image', which is the phenomenological construction stratum in the state of sub-conscious changeability, and 'immediate la diff
rant image', which is the structural construction level stratum in the state of external changeability. This research proves that the intrinsic attribute of changeability is contained the mobility of la diff
rant play and supplement logic.
Gender Identity Expression in Contemporary Men's Fashion - Focus on Judith Butler's Gender Identity Theory -
Kim, Hyun Jung ; Yim, Eun Hyuk ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 47~61
DOI : 10.7233/jksc.2015.65.3.047
Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.
A Study on Formativeness of De Stijl in Contemporary Fashion
Jung, Yeon Yi ; Park, Hee Jeong ; Kan, Ho Sup ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 62~75
DOI : 10.7233/jksc.2015.65.3.062
The purpose of this study is to examine how fine art is received in fashion, and to contribute to the development of a creative fashion culture. In order to do this examination, this study focuses on the formative ideas of De Stijl which appeared in the early 20th century. In addition, this study presents examples of today's fashion that still reflects the formative ideas of De Stijl. The De stijl movement did not last for a long time, but it has had significant influence on modern art, and has been a source of inspiration to fashion designers since the Mondrian look was presented by Yves Saint Laurent in 1965. The study on the basis of De Stijl such as Neo-Plasticism of Piet Mondrian and Elementalism of Theo van Doesburg, has been conducted in this study. As a result, this study presents formative characteristics of the De Stijl group in fashion as follows: First, contemporary fashion designers have searched for proportion and thickness of lines and the side split using lines, a stylistic trait of an artist in the De Stijl group. Second, color scheme defined by the De Stijl group has been applied with modification to contemporary fashion. Modification and selective choice of the limited colors are for a contemporaneous style. Third, formative ideas of De Stijl, which strives to achieve the vision of Utopia, has turned up in contemporary fashion as a simple and minimal silhouette. Contemporary fashion has enhanced their aesthetic value by deriving not only a superficial expression but also plastic principle and philosophy from De stijl. It can be regarded as the fashion's ideal way to embrace style of art and it might be so described as a key to edifying artistic and creative attributes of fashion.
A Fundamental Study of the Armors of the Missionsmuseum St. Ottilien in Germany
Cho, Woo Hyun ; Yum, Jung Ha ; Beckers-Kim, Young Ja ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 76~90
DOI : 10.7233/jksc.2015.65.3.076
This is a basic study of the two remaining armors (artifacts number K2366, K2368) from the late Joseon dynasty that is part of the Korean costume collection, which is preserved in the Mission Museum of Saint Ottilien in Germany. The armor No. 1 (artifacts number K2366) is a coat-styled armor with brass studs. It has a U-shaped neckline with the non-overlapping collars and sleeve straight-lined inseam. The armor No. 1 has the Mu to the sides and is not back slit. Both its inner and outer material are padded with cotton. Leather mails are attached on the inner lining, and studs are attached on the outer lining to match the leather mails. For this reason, the armor No. 1 can be named MyeonPiGab (brass studded armor consisting of a cotton coat with internal leather mails). The outer material is faded to have the natural white, or antique white look and the patterns on it are indigo blue. The inner material is blue, but the original color is unknown since it is faded. The lotus blossoms and vine patterns are dyed on the surface of the outer material and a name is written on the inner material. The armor No. 1 was worn between the late 17th century and the 19th century. It is estimated that it was worn by military officers who were above the mid-rank in the end of the Joseon dynasty. The armor No. 2 (artifacts number K2368) is a coat-styled armor with brass studs and a low-cut U-shaped neckline. The armor No. 2 has a slit on the left armpit and a string around it. Studs are evenly attached on the armor. The iron mails are attached to the left chest area on its inner lining. It seems that it was designed with both formality and functionality in mind. The outer material is red flannel, the inner material is blue satin and the pads are cheesecloth. The side of its collars, cuffs, front lines, sidelines, back slit, and bottom lines are trimmed with fur. There are armors called "JeonCheolGap (brass studded armor consisting of a felt coat with internal iron mails)," which is similar to the armor No. 2, however, the similarities are limited because they are not made of the same material nor do they follow the same principle of nomenclature.
A Study on Image Identity of Re-Branding Fashion House Focus on Celine
Lee, Hye Yeon ; Park, Hee Jeong ; Kan, Ho Sup ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 91~103
DOI : 10.7233/jksc.2015.65.3.091
This study examined the image identity of the Celine fashion house, which went through a successful re-branding using its tradition and succession, a process that was heavily influenced by their new designer, Phoebe Philo. The purpose of this study is as follows: first, to encourage the use of the fashion house in a domestic fashion market. Second, to increase awareness about image identity. Third, to provide suggestions of maintaining sustainable brand by examining a fashion house, which does not follow fast-changing fashion trends but rather leads and creates fashion styles. The study extracted the characteristics of the Celine fashion house by analyzing data, which were collected from fashion literature, its designs, and its marketing. From the data, the study found ways that a brand could use to develop continually. Phoebe Philo re-branded the Celine by using minimalism to redesign its logo and create a new brand image. Her method included the use of diverse and vivid colors via color-blocking, a feature of modern minimalism. This is a modern minimalism, which differentiates itself from others with the elaborate tailoring and delicate detailing effectively. The modern minimalism like this has, caused the new mood beyond the flow of certain art trends and led the revolution, not the advent, of the minimalism in the 1990s. This study believes that the aspect of the fashion-house following and succeeding the tradition is not just in the fashion house. This study should be seen as a significant step forward at a time when we desperately need the continuation of the unique brand recognized as fashion house in the long-term domestically.
A Study on the Product Placement(ppl) of Fashion Products in Film
Kim, Hee Ra ; Shin, Hye Won ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 104~116
DOI : 10.7233/jksc.2015.65.3.104
This research has examined the relationship among film interest, clothing involvement, attitude towards ppl, preference for fashion products, and purchasing intention. In april 2014, 210 university students in Seoul and Incheon filled out a survey. Frequency analysis, k-cluster analysis, t-test, anova, duncan's multiple range test, regression, and mediation regression analysis were used to analyze. Students who were more interested in film were higher in clothing involvement. Clothing involvement had larger influence on preference for fashion products and purchasing intention than film interest. Students highly involved in clothing had more positive attitude towards ppl, preference for fashion products and purchasing intentions. Clothing involvement, attitude towards ppl and preference for fashion products directly influenced purchasing intention. The preference for fashion products had the largest influence on purchasing intention. The preference for fashion products and attitude towards ppl had mediation influences between clothing involvement and purchasing intention.
An Analysis of Fashion Images and Design Components of the Sexy Look Evening Dresses in Haute Couture
Peng, Xiao Chun ; Yoo, Youngsun ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 117~130
DOI : 10.7233/jksc.2015.65.3.117
The purpose of this study is to investigate the 'sexy look' of the Paris Haute Couture evening dresses of the past 10 years from 2005 to 2014. The results are as follows: According to the occurrence frequency analysis of the fashion images of sexy look evening dress, the type of sexy look that appeared the most is the romantic sexy look, followed by erotic sexy look, ethnic sexy look, minimal sexy look and avant-garde sexy, respectively. According to the design component-specific analysis of evening dress for each Haute Couture house, 7 Haute Couture houses have used H-line silhouette over the past 10 years, each H-line silhouette being different. In terms of material, Valentino, Elie Saab, Givenchy, Chanel and Dior have shown a trend of favoring see-through material, Gaultier and Armani showed a lot to combine different materials. In terms of color, Valentino, Chanel, Dior, Gaultier, Armani have shown a general trend in the last 10 years to express sexy look by using attractive and mystical black tones, Elie Saab has shown skin color a lot by using brown family colors and Givenchy has used white family colors. According to the design components analysis for each sexy look fashion image, the H-line silhouette showed the most frequency to represent sexy looks. In terms of material, avant-garde sexy look, ethnic sexy look and minimal sexy look showed a lot to combine different materials to express sexy looks, but erotic sexy look and romantic sexy look are characterized by using thin see-through material. As for the color, black series has been most represented in the last 10 years for the Haute Couture evening dress sexy look.
Procedures and Items for Royal Wedding Ceremonies of Princesses on 『Hwasunongju-garyedeungrok(和順翁主嘉禮謄錄)』
Kim, Jiyeon ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 131~150
DOI : 10.7233/jksc.2015.65.3.131
This article studied the procedures and items used in royal princess weddings by examining "Garyedeungrok(嘉禮謄錄)" which describes Princess Hwasun(和順翁主, 1720-1758)'s wedding in 1732. This was the first wedding by a princess during King Yeongjo(英祖)'s reign. Preparation for the wedding was made based on the previous weddings of royal princesses, but it did not follow the old tradition. The wedding costs were cut down, and it was done in a simpler way than before. However, the simplification of elaborate wedding outfits were not part of this change as ceremonial robes such as No-ui(露衣), Jangsam(長衫) and Chopo(綃袍) were used without much alteration. The wedding ceremony of Princess Hwasun shows the transition process from the royal princess wedding ceremony traditions and rituals in the late 17th century to "Gukhonjeongrye", which emerged and became solidified as a new social norm in the 18th century. A legitimate royal princess and a de facto princess from King's concubine were hardly different when it came to their royal outfitting but the disparity in social status between the two was found in the materials used to make clothes for their respective husbands. Princess Hwasun's wedding procedure shown in "Garyedeungrok" is similar to that of "Gukjo-orye-ui(國朝五禮儀)": Napchae(納采), Nappye(納幣), Chinyeong(親迎), Dongroe(同牢), Hyeongugo(見舅姑), Hyeonsadang(見祠堂), and Seojohyeon(壻朝見). But "Garyedeungrok" deals with the procedures of Gantaek(揀擇), Buma-guanrye(駙馬冠禮), and Seonon(宣醞), which are not included in "Gukjo-orye-ui", and also with the process of preparation for wedding items and the information of related people. However, it is hard to learn about its specific shapes and features because it is often restricted to lists such as a list of clothing. Collecting new materials and an in-depth and succeeding study are required in the future.
Design Development of Outdoor Wear for Trail Running
Kim, Yoon ;
Journal of the Korean Society of Costume, volume 65, issue 3, 2015, Pages 151~166
DOI : 10.7233/jksc.2015.65.3.151
This research aims to study the needs of the trail runners as trail running has become a popular outdoor activity, and give suggestions for high functional outdoor menswear design that can satisfy the needs of the highly demanding taste of runners. The design development is as follows: 1) The design had to be made of lightweight material and be easily packable in all situations, and 2) we also considered the ergonomic and compact fit for activity, 3) the functional location of high functional fabric, 4) the reflective use and layering system giving a wide range of outdoor workout time and 5) the trend in 2016 S/S active sports and outdoor wear. Based on the above elements, the men's outdoor wear design has been developed for trail running in spring and summer. The design development includes a total of 7 items. The design focused on lightweight, availability of packaging, "comfortability" and freshness in activity, functional suitability of location of highly functional materials and the layering system to protect body temperature under the changing environment. In particular, the layering system was implemented to provide ventilation, and it was done in body parts that released the most body heat. Therefore, mesh materials were actively used on the side panel, sleeves and center of the back piece for necessary sweat emission without any problems and ventilation for trail running.