• 복식문화학회:학술대회논문집
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• 복식문화학회 2001년도 BRADFORD COLLEGE
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• pp.14-15
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• 2001

• 한국의류학회지
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• 제31권9_10
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• pp.1418-1430
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• 2007

To strength global competitivenss and raise reputation in times of globalization, the practical use and development of traditional culture which must be discriminated against other countries wedging their ways. The purpose of this study is, 1. Make the mutual relationship between globalization of Korean traditional clothing(Hanbok) and the strean of the international fashion clear. 2. Deduce a common primary fact through commonness of international great products and a success of globalization in Asian nations 3. Suggest a scheme for globalization of Korean traditional clothing from the flank of a design and a policy on the basis of analysis. The consequence of this study is, 1. In the situation that modern international fashion focused Re-Orienting Fashion, Korean traditional clothing-Hanbok is considered as the most priceless value of application for an effective design sauce to differentiate.2. The common point between International leading fashion brands and success of globalization of each Asian nation is to pursuit an effective marketing strategy through a proper harmony with a differentiated 'uniqueness' which is motivated from their tradition, a sense of modern trend reading, and a 'generality' which fits in their lige styles. In consequence, we must develop typical design factors to be connected directly with Korean traditional image from the flank of design, For this, the typical design factors need to be applied with grafting tradition and modern ideas, simplicity, convenience, fleshly senses, and youth.

• International Journal of Human Ecology
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• 제7권1호
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• pp.37-52
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• 2006

This study was designed to analyze the three-dimensional shapes of Hanbok Chima made with various fabrics and to clarify the relationship between fabric properties as well as the objective and subjective evaluations of the 3D shape. For 3D shape data, a dress form (9A2 (N; nude)) was scanned with eight Chima garments made with the same number of fabrics. The scanner used was a non-contact three-dimensional human body measuring system belonging to Bunka Women's University in Japan. Data concerning the objective evaluation of the 3D shape was obtained from the measurements of the vertical and horizontal sections: those for subjective evaluation were through the sensory test after exposure to photographs from a front and side view. Four fabric factors were extracted from fabric physical properties: softness, extension, thickness of threads, and weight of fabric. Such factors as expansion (volume), sag of rear train, shape of nodes were influential in explaining the 3D shape of Hanbok Chima. From the analysis of the 3D shape, it can be deduced that with the constituent fabric stiffer, lighter, and less stretchable, the more expanded the 3D shape appeared to be. Multiple regression results showed that vertical shape factors have a greater effect on the evaluation of the 3D shape. It also implies that dependent variables of this study such as the subjective evaluation and 3D shape can be derived from regression equations on independent variables as fabric property factors or 3D shape factors. These results can enable the manufacturers to predict the 3D shape of the garment as well as the human subjective assessment to improve the efficacy of production. The investigation method proposed in this study can also be applicable to other garment items.

• Human Ecology Research
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• 제53권1호
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• pp.81-92
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• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2002년도 International Costume Conference
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• pp.32-33
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• 2002

• 복식
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• 제59권2호
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• pp.59-69
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• 2009

This study aims to identify how Korean women's traditional costume, Hanbok, has changed according to the times in terms of color coordination of Jeogori and Chima. Photos had been taken at wedding places and streets at 5 major cities(Seoul, Pusan, Kwangju, Daejon, Jeju) at two weekends of each season in 1999, 2001, and 2003. Total 1617 photos were used as final data. Data were analyzed by hue coordination and value level. Hue coordination exist in one-color and two-color coordination. In one-color coordination, red color(R & RP) was the most frequently used and blue green(BG) was the next, and the least was blue purple(BP) for each year. In value scale, high level was the most frequent and followed by middle level and low level. Pink was the most preferred color for one-color coordination. In two-color coordination, white and blue were widely used for Jeogori and red and blue far chima for each year, which seemed to be the basic color coordination for Jeogori and Chima. While there was a certain basic color coordination types across year, but a few new color coordination appeared each year and maintained as popular color coordination for one or two year.

• 한국컴퓨터정보학회논문지
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• 제25권11호
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• pp.167-178
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• 2020

본 연구는 소재 특성, 맞음새, 여밈 등을 고려하여 변화되고 있는 신한복 저고리의 패턴을 비교 분석해봄으로써 시판 신한복 브랜드 간의 저고리 패턴의 차이를 알아보고자 하였다. 6개 제품을 구매, 분해한 후 분해 패턴을 가지고 분석을 실시하였다. 저고리 형태의 경우, 1, 3, 6브랜드의 경우 다트가 없는 형태를 나타냈고 5브랜드는 프린세스라인으로 인체의 입체감을 표현하였다. 외관 평가결과, 5브랜드가 앞품너비의 여유량, 뒤소매진동의 군주름을 제외한 대부분의 항목에서 가장 높게 평가되어 외관이 가장 우수한 것으로 분석되었다. 의복압은 1브랜드의 경우 다른 브랜드의 제품보다 가슴둘레가 작고 어깨폭이나 길이도 짧아 착용 후 당김 현상이 발생하였다. 신한복에 대한 수요가 증가됨에 따라 기성복화하여 사이즈 체계에 대한 확립이 필요할 것으로 생각된다.

• 복식
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• 제65권7호
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• pp.129-144
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• 2015

This study is aimed to better understand the lifestyle and fashion trend of Korea in 1954 and 1955, a period right after the Korean War. The study examined "The Journey of Duty", which was a color slide film of Seoul and Suwon made by a US soldier stationed in Korea during that time, as well as various documents. The films are assumed to be outcomes of the US Army wanting to record the situation in Korea, and the study was able to use 110 of the slides to examine the fashion trend of the times. There are three noticeable trends shown on "The Journey of duty". Koreans in western clothes, women wearing work pants called Momppae, and black color being in fashion. Most of the men and the children either wore only western clothes or western clothes with the Hanbok. But women rarely wore western-style clothing, such as blouse with skirt. They usually wore Hanbok or wore reformed Hanbok. The work pants, Momppae, becoming an everyday wear is the most unique finding from the slides. Women either wore just the pants or over the traditional Korean skirt. Black-colored clothes were in fashion. This color first spread after the Costume Reform Movement in the 1920s' and the prohibition of white robe. The wearing of white clothes did increase after the Korean liberation in 1945, as national spirit was promoted. However, many people still wore black due to economic reasons, as we as practical reasons. So the Korean fashion in 1954-1955 was in a transition period, as people were beginning to change their daily wears from traditional Korean costumes to western-styled clothes. The reasons for this change could be attributed to people only having access to western goods, as well as their awareness of western-styled clothes being more practical.

• 한국의류학회지
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• 제30권4호
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• pp.623-632
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• 2006

This study discusses the traditional costume of Korea and Japan and cognitive factors affecting its recognition by conducting a survey on both Korean and Japanese students so that comparative analysis of the differences about whether to rent or own traditional costume and about whether the students surveyed have visited the other country reciprocally, can be made to set the future course of the traditional costume which have gradually been worn less frequently and favored by less people. College students of Japan and Korea were chosen for this study and asked to fill in a questionnaire. 491 respondents were analyzed using SPSS10.0 for frequency analysis, factors analysis and t-test. Findings of this study are as follows: Firstly, there were 7 factors affecting the Korean student's recognition of Hanbok while 6 factors involved in Japanese student's recognition of Kimono. Korean students thought highly of the traditional costume and yet had less knowledge of it compared to the Japanese students. Secondly, analysis of the student's recognition of their counterpart's traditional costume showed that there were equally 4 factors affecting the student's recognition. Students found the traditional costume difficult to wear and uncomfortable when worn. Japanese students regarded Hanbok as an abstract form of the traditional Korean culture while Korean students viewed Kimono as a realistic form of something concrete. Thirdly, analysis of the differences about the recognition based on the student's owning or renting the traditional costume. or visiting the counterpart's country, showed that students owning the traditional costume were more positive about the traditional costume and well versed in it. And students having visited their counterpart's country thought more favorably of the traditional costume of their counterpart.

• 한국가정과학회지
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• 제5권1호
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.