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REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
> Journal Vol & Issue
Journal Basic Information
Journal DOI :
The Korean Society of Fashion Business
Editor in Chief :
Volume & Issues
Volume 2, Issue 4 - Dec 1998
Volume 2, Issue 3 - Oct 1998
Volume 2, Issue 2 - Jun 1998
Volume 2, Issue 1 - Feb 1998
Selecting the target year
A Study of the Contributors to the British Fashion I - Focusing on Lee Alexander MacQueen-
Bae, Soo-Jeong ;
Fashion business, volume 2, issue 3, 1998, Pages 43~54
In recent years, the influences of Korean fashion industry have slowly declined and numerous clothing-associated industry have come to be bankrupt, due to a national economic crisis. The purpose of this thesis is how to find the way of activating our fashion industry, by reviewing the accomplishments of British young designers, who are contributors to the present peak activities of British fashion. Some results come over this depressive state of Korean fashion might be proposed. Firstly, Korean government should try to direct the Korean fashion associated group to make the unified and effective results in an organized way. Secondly, Korean fashion industries and university-level fashion school should have more intimate relationship and be closely communicated with each other. Thirdly, the designers should do effort to have the highest tailoring technique and artistic good sense. In conclusion, the government, university-level fashion schools, fashion industries and fashion designers should be positively changed and cooperated to do the best and activate Korean fashion.
The Influences of Flapper Fashion on Modern Fashion
Park, Hye-Won ; Cho, Kyu-Hwa ;
Fashion business, volume 2, issue 3, 1998, Pages 55~72
The purpose of this study is for consideration of the flapper fashion (1924-1928) in Jazz Age (1919-1929) of America and the influences of it on modern fashion. This study is started from the latest fashion trend which is pursuing it's inspiration into the Jazz Age, the 20s. The etimology of 'flapper' was based on mines is 'flap' such as 'flutter of skirt hemline', 'hands', 'arms', 'wings' and a slang which was applied to young women from 1830. In 20th century it has meant not only new American women but also their fashion and attitude. The designs of flapper fashion were expressed by simplicity, functionality, nudity and rhythm. Simplicity was the best value of this time and the simple image was considered the smartest. Functionality was represented by straight boyish style and loose baggy silhouette that was related to free dome. Nudity was expressed by revealing of legs, arms, backs in shapes and see-through by materials. It was related to sexual attraction and point to youth. Rhythm of flapper fashion expressed optical effect of movement. Using of light material was deep related to freedom of flappers, speed, rhythmical Jazz and dancing. The influences of flapper fashion were giving an opportunity that changed fashion leader from high class to young popular group and simple design of flapper fashion effected to modernization and popularization of American apparel business. And it influenced American casual fashion which was known as brightness, youth and openhearted mood. So flapper fashion can be reganded as the starting point of the street fashion of the 20th century.
A Study on Jean-Charles de Castelbajac
Cho, Mal-Hee ;
Fashion business, volume 2, issue 3, 1998, Pages 73~86
Jean-Charles de Castelbajac is gaining worldwide recognition as a designer who is not conscious of fashion and meet the desire of times. Castelbajac's works can be devided into three periods. 1. Creative challenge period. (1968~78) - His works started from creative challenge against haute-couture attract with practical design and extraordinary textile use. 2. Artistic development period. (1979~88) - He made unique ideas with the four primary colors affected by modern formative art. Pop-art clothes using cartoon or graffito were highlighted. 3. Aesthetic maturity period. (1989-now) - He received chevalier of Arts and the Letters at 1989. He was acquainted with other many designers in the world at 1990s, and his works came to mature. The aesthetic qualities in Castelbajac's works can be identified with the following themes. 1. Geometrical simplicity - Geometrical form without decoration and unnecessary lines used for the most comfortable cloth to wear and act gives an impression of explicitness and intelligence. 2. Humorous decoration - An unique idea having wit and humor shows his philosophy that must be new, vital and delightful. 3. Parody presentation - Pictures or people are reorganized 9Y work philosophy, then that get satirical and comic effects. 4. Pop-art image - Using mass communication media like a cartoon, figures, flag, graffiti, it produces clear and bright image.
A Study on the Recognition and Actual Wearing Condition of Foundation Garments for Adult Women
Kim, Young-Sook ; Sohn, Hee-Soon ;
Fashion business, volume 2, issue 3, 1998, Pages 98~108
The purpose of this study is to provide for the basic data useful to the effective production and marketing of the foundation garments befitting adult women's body shapes and preferences, and thereby, help them improve their apparel life. For this purpose, 563 Korean adult women aged between 20-59 were sampled to survey their recognition and actual wearing condition of foundation garments and positively identify the factors affecting the practices and thereupon, determine the correlations among them by age group. Data is processed by a computer (SAS) and analyzed by using frequency, percentage,
-test, ANOVA, Duncan-test. The main results of this study are as follows; 1. The most of the adult women were aware of the basic underwear terminologies and the absolute majority of them wore brassieres, while a half of them used the girdles. In contrast, only a small portion of them wore body suites or waste-nippers and the absolute minority of them had garterbelts. 2. The use of the foundations depended much on users' ages or seasons. They had begun to wear brassieres and girdles at their age of 15 on average, and bodysuites, waist-nippers or garterbelts around their age of 20 depending on their individual needs. 3. The adult women had 3-6 brassieres and 2-3 girdles on average, but only a minority of them owned one or two body suites, waist-nippers or garterbelts. They had ever used the functional foundations (11.5%) or imported foundations (35.9%), It has been found through this study that adult women's recognition and actual wearing condition of their foundation garments differ by age group, which may well suggest that foundation production need to take such age-wise practices into consideration in setting up their foundation production and marketing strategies.
A Study on Stage Costume of Yean-GaeSoMoon(Korean) in the Peking Opera <
> - Focusing on Symbolic Meaning of Stage Costume -
Shin, Kyeong-Seob ; Cho, Kyu-Hwa ;
Fashion business, volume 2, issue 3, 1998, Pages 121~136
The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.
A Study on Traditional Costume of China's Minorities (I) - Centering Around Yunna Province Minorities -
Kim, Young-Sin ; Hong, Jung-Min ;
Fashion business, volume 2, issue 3, 1998, Pages 137~156
In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.
A Study on the Style of the Pyonbokpo(便服抱) in Koryo Dynasty
Kim, Moon-Ja ;
Fashion business, volume 2, issue 3, 1998, Pages 157~165
In Koryo Dynasty Pyonbokpo(便服抱) was worn by both sexes. There were four styles that was Yosunchollic, Dappo, Pol, Poll, of the men's Pyonbokpo(便服抱). Double breast style (重据形) was used for the adjustments of these clothes. Neckline and he-m line were substituted by rectangular collar (목판깃). The width and length of sleeves in Yosunch-ollic was tighter and shorter as general Po. Coat-string (Okgolum), side slit were used. Feminine Pyonbokpo (便服抱) had usually same style of men's one. There was one was back longer than front length. They wore it with or without a belt. Knot-button, Coat-string (Okgolum), White straight collar (DongJung), side slit were used.
A Study on the Strategies to Revitalize the Textile Converters
Cho, Kyu-Hwa ; Chung, Sung-Jee ;
Fashion business, volume 2, issue 3, 1998, Pages 166~179
The purposes of this study were to 1) investigate the problems in and the complaints from fashion textile converters and 2) develope the effective strategies to revitalize the converting business. This research study consists of two parts. The one part includes a study, on the domestic industry, which is mainly conducted through questionnaires, interviews and a review of related literature. The other part includes a study on the foreign industries. In case of Japan, survey was performed by visiting Japanese industry and interviewing Japanese converters. However, in case of Italy, a study was mainly conducted through a review of related literature and by interviewing Italian converters thru mail. As a survey instrument, a questionnaire was developed by the researchers after reviewing the related literature and interviewing textile converters. A questionnaire was distributed to 250 textile converters who were selected at random from the directory of textile converters which had been made by the researchers. All of the returned responses which include sixty four questionnaires were used for the analysis. The difficulties with which these converters confront are in a small scale and lack of specialty, professional training, and government support. Also, converters need an association or an organization that represent them. Cases of Japan and Italy were researched as examples of developed nation's. For instance, one of bench mark companies in development, planning and management, "Fashion Soft House" in Japan was analyzed. Regarding to Italy, the functions of the textile design studios which were mainly located around the silk complex, Como, were examined. Finally, on the basis of the results of this study, the strategies to revitalize the fashion textile converters include the tactics concerning management, production, education, improvement of the relationship between related industries, and the supportive policy by the government.