Go to the main menu
Skip to content
Go to bottom
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
Study on the 'Round Collar Po(袍類)' Illustrations of 『Akhak-gwebeom(樂學軌範)』
Ko, Yoon Jung ; Cho, Woo Hyun ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 1~18
DOI : 10.7233/jksc.2015.65.4.001
The subject of study is about the illustrations of the round collar Po(袍類) in the Akhak-gwebeom(樂學軌範) which was published in 1493. These illustrations are painted records of what musicians and dancers in the palace were wearing during performances. While each illustration of the Po is similar in that they all have round collars, each has a different name Sam(衫), Ui(衣), Dallyeong(團領) and formative characteristics, and these features were analyze in the study. Sam refers to the Gongbok(公服) as it has long and big sized sleeves, Ui is the word used to represent the basic unit of outerwear, and Dallyeong is believed to refer to the Sibok(時服) and Sangbok(常服). In the formative aspects, Sam's auxiliary sleeve is one of the ways wearing the sleeve of innerwear shown outward and it's assumed to have been produced for visually matching the formal look as well as the convenience free to use of hands. The Mu of Dan-ui(丹衣) is less than the number of the excavated artifacts, it produced in a relatively simplified form. Also, illustration of Dallyeong corresponds to the artifacts and configuration of the 15th to 16th centuries, the costume culture of that time seems to be reflected specifically. While Hyungbae(胸背) used in the form of rectangles and circles such as petals. it tried to represent the country at the official event by borrowing the upper class in the costume that musicians and dancers wear, also showed the rank and social status symbolically by having the differences in the shape and pattern. While the costume culture at the time is reflected, it can be found that the objective of raising the country's dignity is implied by transforming the detailed structure for the practicality, borrowing the costume elements of the high social status and transformed them.
A Study on the Semantic Analysis of the type of Biomorphic Fashion Design
Kim, Jieun ; Lee, Jeehyun ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 19~30
DOI : 10.7233/jksc.2015.65.4.019
In recent years, various studies about 'Biomorphic design' have been conducted and accelerated among many recent design concepts and methodology. Therefore, this study classifies the types of biomorphic fashion design based on literature review, and select biomorphic fashion designs in the latest fashion designer's collection. This study aimed to determine the types and characteristics of the biomorphic design in fashion design, and analyze the characteristics and the interpreted intrinsic meanings through Greimas Semiotic rectangle model based on the Binary-Opposition of meaning and Isotophy. As the result of analysis, biomorphic designs in fashion are classified as three types: 'representational imitation of form', 'technical imitation of functional features', and 'imitation of symbolic attribute'. 'Representational imitation of form' was derived from an organic design through atypical forms, repetition and extension of figurative forms of nature, and 'the functionalities of the nature' are interpreted as the feature to maintain the condition of the life itself and to attempt to regulate the status of self-autonomy. Lastly, 'the imitation of symbolic attributes' is designing the process of creation, growth, expansion and destruction from circulation of nature.
Study on the Police Uniform in Japan's Early Meiji Period
Nomura, Michiyo ; Lee, Kyungmee ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 31~44
DOI : 10.7233/jksc.2015.65.4.031
The purpose of this study is to examine introduction and establishment of the police uniform during Japan's early Meiji period, in order to get deeper understanding of the introduction of the modern uniform. The research method included a literature review of laws related to police uniform, which were collected and analyzed. The result shows that the uniform stipulated by Keisi-cho Uniform regulation in 1874 included characteristics of Western uniforms that show the rank of the officers using emblems, such as different cap badges and uniform stripes, while maintaining the same form. Later, the modern uniform system came into form with the addition of a national symbol, building system of formal wear, separating uniforms for different classes, and adding additional uniforms. This illustrates the process of introducing and establishing western-style uniform in the East and can serve as a reference for similar studies.
Effect of SPA Brand Consumers' Emotional Consumption Value Orientation and Assessment of Marketing Mix Attributes on brand loyalty
Nam, Heekyoung ; Son, Heejung ; Lee, Yuri ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 45~60
DOI : 10.7233/jksc.2015.65.4.045
Emotional consumption value orientation has played a significant role to have a direct effect on making purchase in our lives. And emotional value has been dealt within the SPA brand contexts recently. Therefore, the current study investigates how SPA brand consumers' emotional value consumption orientation has affected brand loyalty, with a focus on mediation effects of marketing mix attributes assessment. Results of this research are as follows. First, there was a significant difference between Zara and Uniqlo on the assessment of marketing mix attributes. Second, emotional consumption value orientation had significantly impact on brand loyalty for both Zara and Uniqlo. Third, multi-regression analysis was conducted to find out the mediation effect of marketing mix attributes assessment in the relationships between emotional consumption value orientation and brand loyalty. For Zara, hedonic promotional and pricing attributes of products and place show full mediation effect on brand loyalty. For Uniqlo, utilitarian, hedonic and pricing attributes have impact on brand loyalty. The current study strives to find out how emotional consumption value orientation attected the consumer evaluation process and purchase behavior in the contexts of SPA brand product purchase. Product assessments have stronger effect than place, and hedonic attributes have stronger effect on brand loyalty in comparison with utilitarian attributes. Also, hedonic attributes of product and place have stronger effect on brand loyalty in comparison with utilitarian attributes.
The Design Characteristics of Prep-hop Fashion
Kim, Yoon ; Lee, Younhee ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 61~75
DOI : 10.7233/jksc.2015.65.4.061
This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.
Analysis of Expressions on Nietzsche's Nihilism in Fashion Collection & Arts
Lee, Hyewon ; Kim, Minja ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 76~90
DOI : 10.7233/jksc.2015.65.4.076
Based on a concept of Nietzschean nihilism, this study aimed at interpreting the nihilism in arts and its expressions, also analyzing the modern fashion collection from the same angle. The research was centered on arts after 1980, when post-modern formal destruction expanded in earnest and on the fashion collection after the 20th century, easily accessible to data. Particularly, it set 1994 nihilism collection by Alexander McQueen, a representative nihilist fashion designer as a starting point. Nietzsche mentioned that true arts may be achieved when Apollonian characteristics including a bodily sensory system and an idealization process and Dionysian characteristics including every human feeling are integrated. Besides, he emphasized the importance of an artist being represented as an image of
image, reflected in arts and artistic nihilism, represents themes of violence/death, realistic/unrealistic expressions, human body/inhuman aversion materials and the transmutation of a form. Fashion collection expressions, owing to the special characteristic of the show form unlike other arts, were segmented as a realistic
image using a model in a theme, expression, material and form. The theme of violence/death was divided into the death of human and a society. Human life/death was expressed as destruction of human weakness and self-identity, sexual objectification and violence, and social death as destruction and conflict of a class, nation, culture and nature. As for the expression, it was divided into the realistic expression of the primitive/natural and directing of an unrealistic atmosphere using a show.
Development of Zero Waste Fashion Design Process Guideline from an Educational Perspective
Cho, Sinwon ; Lee, Jee Hyun ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 91~108
DOI : 10.7233/jksc.2015.65.4.091
As a solution to the wasteful consumption of resources in fashion design, this research aims to develop a process guideline for ZWF Design Methods from an educational perspective. After selecting the Jigsaw Puzzle, Subtraction Cutting, and Layer Methods as representative ZWF Methods, an application experiment was designed to deduct each Method's process, characteristics, needs, and improvement points. Its results were analyzed through action protocol analysis, expert evaluation, and qualitative analysis. Based on the analysis, this research proposed a ZWF guideline and a step-by-step guide suitable to the students' needs. By following the guideline, students can use the chosen ZWF Method to create a planned or an accidental design. In addition, they can practice ZWF effectively step by step in the order of Layer, Jigsaw Puzzle, and Subtraction Cutting. Thus, this research can provide the basis for ZWF education, which can lead to expanded application of ZWF in the future and reduce textile waste.
A Research on the Exchange of Costume Culture between Netherlands and Japan through 17-18 Century Dutch East India Company
Kim, Myung-Eun ; Bae, Soo-Jeong ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 109~123
DOI : 10.7233/jksc.2015.65.4.109
The object of this research is to take a bilateral look into cultural exchanges of the Netherlands and Japan through the East India Company and thereby improve the general understanding in regards to the exchanges of costume cultures between the East and the West. The study conducted qualitative analyses on features of contemporary costumes of the Netherlands and Japan from 1602 to 1799 by investigating the secondary sources, such as the histories of costumes, arts, and literature. The results are as follows; the traditional sleeves of the Japanese Kimono were basically cut out in a straight line. However due to the growing popularity of the kimono home gown in Europe, the producers of the kimono in India as well as several other European countries modified them into western-style sleeves. Regarding the costumes of the Netherlands, which were introduced to Japan, the study found that Japan imported Dutch fabrics, instead of specific clothing items. In Japan, costume controls and anti-conspicuous consumption regulations among social classes including a closed-door policy had negative effects on both developments and exchanges of costumes of the country. However, when it comes to the Jinbaori, a costume for ruling classes, Japan was open to using fabrics, patterns and designs of the West. In light of what have been discussed so far, the study confirmed that the costume exchanges between the two countries started long after their first business of the general cultural exchanges. Though it is clear that the advancements in the natural sciences that the Japanese made can be attributed to the West, Japan was one of the nations that impacted the costume cultures in Europe.
A Study on Women's Headgear of Muslim Ethnic Minority in Xinjiang Uygur
Kang, Soo Ah ; Cho, Woo Hyun ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 124~136
DOI : 10.7233/jksc.2015.65.4.124
Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.
Analytic Model Development for Fashion Designer's Creativity - Centered on Perspectives of M. Csikszentimihalyi & H. Gardener -
Lee, MinSun ; Kim, Min-ja ;
Journal of the Korean Society of Costume, volume 65, issue 4, 2015, Pages 137~153
DOI : 10.7233/jksc.2015.65.4.137
This paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.