• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.155-163
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• 2021

This design proposal research is meaningful as Jogakbo can retain the traditional value of the it's design as it becomes a contemporary design proposal. As a specific method of research, history was been investigated to find meaning and formative characteristics defined through prior research under the theme of Jogakbo. Ideas, such as silhouettes, details for design, and the making domestic and foreign designer examples were obtained. The fabric used for the works were recycled from past leather works. All materials are sheep skin. There were various processed surfaces used to avoid monotony. Jogakbo's cotton composition focused on free and radial patterns. The pattern was manufactured using a flat and 3D combination, and the selection of items was mainly made with a simple and light silhouette, so that Jogakbo's details, such as dresses, slip dress, and vests could stand out. Color is an important factor in Jogakbo. However, traditions which are relics of the times, do not need to be preserved in their original form. If changes are inherited with reasonable grounds and directions in line with the changing times, the significance and values are retained are sufficient. It is hoped that these design development studies will continue in the future so that our precious cultural heritage can continue to change and develop positively.

• Archives of design research
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• v.13 no.1
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• pp.7-18
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• 2000

Study of Costume Design Applied The Formativity of Korean Traditional Cloth Wrappers Costume has been coexistion with man ever sine human history began, and in modem society its role in man's living, culture and art has become so great that It is now an object most refreshing and of extensive concern to man. This study, based on the expressive quality and purity of Korean traditional cloth wrappers which have the formativity continuously pursueing new visual inspirations, is to seek new expressional diversities and rediscover our traditional beauty and at the same time to present possibilities of reflecting more unique, new spirit of the times inherent in our culture and of creating certain formative world of design value. In studying, literary reference as atheoretical background, analysis of the formative characteristics of traditional cloth wrappers through corrobcrative data preserved as a cultural asset at museums, and actual making of eight works in total based on the results of analysis have been paralled.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.1
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• pp.33-38
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• 2006

In this paper, we propose implementation of 3D fashion show animation based on web which needs a construction of 3D fashion shopping mall. The 3D model made by 3D MAX program was exported XML type and displayed on web using ActiveX of D3D library. For the purpose of fashion show animation of 3D model in various clothes which selected by customer of shopping mall, we design the parts of standard clothes with hierarchical structure and assemble them. Next, we are mapping the various textures to them and animate 3D model in similar clothes which selected by customer on web.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.23-32
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• 2009

The purpose of this study is to research fabrics, colors, and arrangement of color in Jogak-bo which were developed during the late Chosun dynasty. It is expected that from the analysis of the number, distribution and arrangement of colors of Jogak-bo in the late Chosun we can suggest various color arrangements thoset can be applied to modern fashion are summarized as follows. First, as for the number of colors of Jogak-bo according to material, silk fabrics Jogak-bo used a variety of colors whereas hemp fabrics Jogak-bo mostly used one color showing contrast between silk fabrics Jogak-bo and hemp fabrics ones. Second, as for the distribution of colors of silk Jogak-bo and hemp fabrics ones, warm colors were used most frequently. On the other hand, fewer achromatic colors were used to silk fabrics Jogak-bo, and they were more applied to hemp fabrics Jogak-bo. As for the use of cold colors, fewer cold colors were applied to hemp fabrics Jogak-bo compared to silk fabrics Jogak-bo. Third, as for the arrangement of colors, various colors were used in silk fabrics Jogak-bo, but a single color or not more than 1 color was applied to hemp fabrics Jogak-bo. It well demonstrates brilliance and glamour of silk Jogak-bo and stability and unity of hemp fabrics Jogak-bo. As for the arrangement of colors of Jogak-bo, most of Jogak-bo showed contrasting colors and shades, and similar colors and shades were hardly found in silk fabrics Jogak-bo whereas they were frequently found in hemp fabrics Jogak-bo.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.149-162
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• 2019

The purpose of this study is to suggest various directions of living hanbok and proposed the living hanbok design that integrated the tradition and the contemporary, as well as the past and present with denim material that represents the youth cultureby while using the motif of Korean Jogakbo. For the research method, the data on living hanbok, denim, and Jogakbo were surveyed to develop and produce a living hanbok design. The development of a living hanbok design emphasized the meaning of longing for an accumulation of good fortune, by using the concept of 'wishing for fortune' including the symbolic images of denim and Jogakbo. The production results of this study are as follows. First, the Jogakbo motif consisted of patterns yearning for harmony, great fortune, longevity, and many children, and the living hanbok design integrated with the denim material symbolized the convergence of the past and present and the harmony of eastern and western cultures. The study could verify that the living hanbok design was recreated in a contemporary sense to be used everyday by expressing contemporary senses in a traditional image. Second, leftover fabric pieces and recycled materials that can be abandoned by the material market were used for denim. This study could also develop the living hanbok design as a sustainable design through upcycling, an important social trend, puting an emphasis on carrying out socio-ethical responsibilities. Third, denim Jogakbo work, which is connected by small pieces of denim material, used to be a difficult and labor intensive handicraft, but it could be proposed as a new high value-added fashion and generate contemporary living hanbok with a new image.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.2
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• pp.97-110
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• 2023

The purpose of this study is to develop 3D pattern textile design of traditional Jogakbo motifs and fashion products using it. As a research method, first, through literature review, the three-dimensional representation of geometry on a plane with Jogakbo, design cases were examined. Second, through a survey, the purchase perception and design preference of Jogakbo cultural products was analyzed. Third, based on the results of the survey on color and print, the 3D pattern design for each type of Jogakbo is printed, and then textile fashion cultural products were developed. The results of this study are as follows. First, the reason why the public was not attracted to the purchase of cultural products was disatisfaction with practicality, unsuitable preference, price adequacy, aesthetics, and originality. Therefore, it was analyzed that quality, practicality, price, carry-on storage harmony and manageability, as well as aesthetic design were important factors for consumers. Second, the stereoscopic space on the plane expanded the two-dimensional plane space by forming a cube through the division and dissolution of geometry could be visualized using color expression of cubes of different brightness depending on the direction of light. Third, Jogakbo had eight types consisting of four detailed forms and three arrangement methods. The 3D pattern design could be developed through regular disolution and stereoscopic construction using Jogakbo's representative images for each type. In addition, it was found that it was easy to produce Jogakbo fashion products suitable for modern people through 3D pattern digital textile printing applying traditional colors.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.165-175
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• 2011

In this study, document research on Jogakbo and Tosi were carried out and textile designs were developed by applying Jogakbo and Tosi together for motives. The purposes of this study were to develop a unique textile design, and then to enhance the competitiveness of Korean textile industry in the world market and pass down a Korean traditional fiber art cultural legacy. The results are as follows; First, the title of textile design was decided to "innocence of childhood" and the concepts are "sim ple heart ed, pure heart, sweet", in order to develop textile design for the young generation Second, Motives were chosen Jogakbo and Tosi to reflect Korean traditionality and identity and textile designs were expressed on ground fashion trends for modernity. Third, developed textile designs were printed with digital printing method for eco-friendly and productivity, and various articles clothing, nectie, shoes, bag, bedings were producted with developed fabrics for multipurpose. Forth, the developed textile designs were evaluated highly in point of Korean traditionality and identity, felling of simplehearted, pure hear and sweet, modernity and fashion trend, and preference by a sensory test of developed test design.

• The Korean Fashion and Textile Research Journal
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• v.19 no.6
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• pp.777-785
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• 2017

The MICE industry is a new industry that combines corporate meetings, intensive tours, conventions and exhibitions. The convention (the international conference itself) is a conception born from the interpretation of multiple industries such as conferences, incentive tourism, exhibitions and fairs. It is therefore necessary to develop products that can contribute to the revitalization of the MICE industry. We will participate in globalization era trends by developing original design with unique color sense as well as traditional beauty and elegance that can represent the Korean Wave in order to develop high value-added fashion cultural products. We examine the formative characteristics of Chogakbo and apply them to the harmony of geometrical characteristics and colors. The morphological characteristics and sewing method of the Korean traditional 'fo' were also used for shirt designs. It is a fashion cultural product that applies to the Korean Cheokagbo design as well as maintains a basic aloha shirt design that can be worn by everyone (regardless of gender and age) to make it globally acceptable. We used a simple and interesting geometric configuration of the surface represented by the surface composition of the patchwork as well as proposed a design costume by 3D clothing simulation work. The research results can be used as basic data for the domestic fashion market and cultural goods market.

• Journal of the Korean Society of Costume
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• v.44
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.