• 헤리티지:역사와 과학
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• 제55권1호
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• pp.133-150
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• 2022

21세기는 '문화경쟁' 시대라고 말해도 과언은 아니다. 국제화 시대를 살아가고 있는 오늘날 우리는 '자국의 정체성'을 문화에서 찾으려 한다. '문화'란 그 민족이 살아온 발자취를 고스란히 담고 있는 자국민의 독특한 민족성을 말한다. 세계는 하나의 다차원적인 지구로 변해가는 이 시점에서 민족적 고유성과 독창적 조형성을 담은 전통 문양은 자국민을 대표하는 브랜드다. 프랑스의 명품 브랜드 고야드 문양은 수작업 과정에서 자연스럽게 생성된 Y자형 패턴을 볼 수 있다. 이 문양은 160년이 지난 오늘날 프랑스를 대표하는 기업 브랜드로 세계적인 명성을 자랑한다. 반면 저소득국가의 경우 직물을 직조하는 과정에서 자연스럽게 만들어진 문양은 민족적 고유한 미의식으로 계승되어 지구촌 사람들로부터 사랑받고 있다. 이처럼 다차원적인 세계를 살아가는 지구촌 사람들은 자국의 문화를 계승하려는 의지와 타민족의 고유한 문화를 보존하려는 이른바 '지구는 하나라는 시각(One Planet Perspective)' 프레임 워크를 실현하고자 한다. 예를 들어 콜롬비아의 '와유 부족'은 2013년 식수난으로 국제 구호기구들이 이들을 찾아가 구호품을 전달하는 과정에서 핸드메이드 제품인 '모칠라백'을 발견하게 된다. 이것이 계기가 되어 유럽과 한국에서도 이를 수입하여 판매를 결정한 것은 '와유 부족'의 생계에 도움을 주고자 함이다. 또한 소수 부족의 전통문화 속에서 천 년 동안 진화해 온 미적·문화적 가치는 유네스코에 등재되어 세계적으로 보존되고 있다. '문화란 하루아침'에 형성된 것이 아니라 적어도 100년 이상 지속되면서 그 시대의 트렌드에 적용된 문양은 기업을 대표하는 브랜드다. 또한 나아가 국가 정체성을 반영한 문양은 민족적 고유한 미의식으로 계승되기도 한다. 우리는 민족적 고유한 미의식을 계승하고 있으나 이를 현대적인 추세에 맞게 창의적이고 심미적으로 재해석한 실용적 가치를 보여주는 전통 문양 브랜드는 없다. 이에 본연구는 세계의 문양 브랜드 전략을 파악하고 한국 기업 브랜드의 문제점을 제시하고자 한다.

• 복식
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• 제62권7호
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• 복식문화연구
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• 제28권2호
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• pp.199-214
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• 2020

The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan's and China's Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

• 한국의상디자인학회지
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• 제11권2호
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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.

• 한국의상디자인학회지
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• 제10권1호
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• pp.45-53
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• 2008

Different method of textile fabrication had existed since the ancient times, but the most dominant form was the 'weaving' method which embodies the cross fabrication of vertical and horizontal threads using special weaving machines (looms). In addition, fabrication methods like knitting, felt, and lace were commonly practiced while intertwinement methods like twisting, braiding, and knotting techniques were frequently used for weaving strings and braid type textiles. In the past, people did not pay attention to strings and braids because they were classified as non-textiles, but, in this paper, we have expanded the scope of definition of textile to include strings and braids, and seek to conduct in-depth research on various different intertwinement of textiles. The adaptation of intertwinement method in arts and crafts enables limitless creative works reflecting the ever-changing taste and style of the creator. This creativity is further broadened by the fact that intertwinement methods encompass no set patterns and the subject and shape of its creation is as broad as its artistic pursuits. We can infer the knowledge of our ancestors, their aesthetic taste, and the pattern of life from these creations. In addition, these creations can provide comfort and improve the quality of life of modem people who are deeply deprived of sentimental and emotional solitude in the technological civilization of the 21stcentury. The main purpose of this paper is to examine traditional Korean arts and crafts made using the intertwinement methodology through the context of strings, braids, straw crafts and knotting method. Then it will conduct through research on the different materials, forms, characteristics, usage and other key notions based on the currently preserved records and relics to contribute to the research on traditional textiles and provide the foundations to the development of the Korean culture and cultural products, reflecting the true sole and aesthetics of traditional Korean textile crafts.

• 한국의류산업학회지
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• 제13권6호
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• pp.848-855
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• 2011

The purpose of this study is to develop design for daily hanbok with Jacquard textile design developed by using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. This study will also develop Jacquard textile design that has elaborate and luxurious patterns and abundant expression of colors using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. Developing daily hanbok design for woman's casual and formal occasion will contribute to fashion business significantly by popularization of daily hanbok as one of the important fashion genre. The "Texpro Design CAD V8.21" program was used for the textile design. A total of 2 designs were developed as the Jacquard textile design with traditional patterns using flower motifs. One type of fabric was produced for each of the textile design with a color selected from "Pantone Color Chips". And finally, four woman's daily hanbok design for either casual or and formal style were developed and these daily hanboks were consisted of one set of jacket and trouser, durumagi, one set of jacket and skirt and one set of vest and trouser. And the actual garments were constructed and the design procedure and the photos of these works were presented. This study showed the possibility of producing highly sensible daily hanbok that suits the fashion trend of middle aged women and the widening of consumer range and the creation of new market by developing Jacquard textile design.

• 한국의상디자인학회지
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• 제11권1호
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• pp.169-179
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• 2009

In order to preserve the Korean traditional gold foil, to develop as Korean traditional textile art by utilizing in modem fashion for textile industry, and to examine utility of the material which can be used in the modem wearing, interior goods and fashion terms, Textiles Applied Korean Traditional Gold Foil were developed. The results are as follows: First, important factors of the gold foil image should be extracted as materials quality, color and pattern, and modem and practical qualities should be proceeded when developing the image of the gold foil into modem quality material. Second, since gloss of fabric developed by a traditional method is somewhat strong, uniformity being a little bit low for hand-made manufacturing, and practical quality is low for high cost, deletion of the gold foil, etc. So it hasn't been appropriate for studying modem fashion material. Third, Jacquard weave has been examined as the most appropriate method in order to present the gold foil image among a number of textile manufacturing techniques Fourth, considering factors deciding the image of the gold foil and a sense of beauty of modem society, gloss of the foil has been lessened by expressing pattern to lower traditional quality and primary color. Fifth, pattern motives of developed materials have been extracted tram traditional gold foil patterns, and materials have been chosen considering of concepts and motives, and dragon pattern, crane pattern and bat pattern, Sixth, wearing, pin-up works, bed linen, fabrics for chairs, ties, bags, shoes, umbrellas, etc. are produced with the developed materials, and practical use and modern quality have been examined. The result is very satisfactory.

• 대한가정학회지
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• 제23권3호
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• pp.27-38
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• 1985

In KOREA, the history of weaving is so long even in prinitive, there are the traces of fabric emmision using Spindle already in the Neolithic age. And coming up to the period of Three States, becoming active of cultivation of fibers, it can be known the variety of kinds and the production of fine products by improvement of new method of weaving using weaving machine. In the period of shilla state, there is a record of making the fine fabrics with 28 bracts. But wearing of silks fabrics was limitted for only the nobility and common people were wearing native thick hemp clothes. Also in the period of Korea state, they were wearing the hemp clothes by cultivation of hemp. The good quality products were worn by the King or the nobility and women in KOREA made their best with whole efforts to pay to the authorities with woven products of hemp clothes, so in the 14th year of King Chung- Ryul, King prohibited the presentation of fine hemp clothes by his order. By the end of KOREA state, before the production, common people was mainly wearing the hemp clothes. Coming up to the Kingdom of Chosun the sericulture was promoted by establishment of the sericulture encouraging low. Therefore the working hours of women were highly increased. The products of Song-do, Chin-ju for cotton clothes, those of Han-san-the same now as in old times-for ramie clothes, those of Han-Kyung province and An-dong for hemp fabrics were estimated as the best qualities. And the hemp clothes of Kang-won province is not so fine but is very useful and famous for mourning clothes and summer clothes for the farmer. It is true that our history of weaving was begun with hemp as a continous and precious friend of common people during all the historical periods-even though for a while it went backward because of chinese silks.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.103-109
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• 2004

It surveyed consumers between 20s and 60s to understand how often they wear ramie clothes and what they are dissatisfied with wearing ramie clothes. First, people who are older than 50 have more ramie clothes than people who are younger than 50. They purchased ramie clothes at a store of Korean traditional costumes(35.1%) and special sales shops including departments(33.8%). People older than 50 washed ramie clothes with hands in their houses. But people younger than 40 washed their ramie clothes in a laundry. Third, it surveyed what was their dissatisfaction with ramie clothes. They responded that the type and design is limited.(44.4%) There isn't a design for young people.(33.3%) In the survey of color and patterns, they responded that the colors are not classified for people of different ages.(57.7%) The others complained that the patterns are not enough.(22.5%) They are dissatisfied with ramie clothes as it is easy to have wrinkle and it isn't elastic.(66.7%) Fourth, it surveyed the tendency to purchase ramie clothes based on different four factors. The factor 1 is the tendency to have good quality. Factor 2 is the tendency of reluctant purchasing. Factor 3 is the tendency of variety of distribution routes. Factor 4 is the tendency of design.

• 한국의상디자인학회지
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• 제20권4호
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.