• Journal of Fashion Business
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• v.28 no.5
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• pp.141-159
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• 2024

This study explores the history and defining characteristics of Gwamun during the Goryeo Dynasty and how these elements can be applied to contemporary textile design. Gwamun is a pattern style that features repeated arrangements of various motifs within a defined border. It was particularly popular in Korea during the Goryeo Dynasty and in China during the Song and Yuan Dynasties. The Gwamun styles found in Goryeo relics are categorized based on the shape of the border into three types: Dan-gwamun, which has a round shape; Danhwa-gwamun, characterized by a round flower shape; and Siche-gwamun, which resembles the end of a persimmonstalk. In this study, three pattern types and nine design motifs were derived from the formative characteristics of Gwamun. These motifs were then used to create unit patterns based on the arrangement techniques of Goryeo Dynasty textiles, resulting in a total of 18 unique textile designs. The color palette utilized corresponds to the 2025 trend colors, and each textile pattern was reinterpreted with modern hues and design methods while maintaining traditional forms and values. The developed textile patterns were incorporated into a Cheollik one-piece design using CLO 3D software. This virtual application confirmed the potential for integrating traditional Goryeo Dynasty patterns into new Hanbok designs. Overall, this work provides valuable insights that contribute to the diversification and global expansion of K-fashion.

• Journal of Korean Home Economics Education Association
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• v.20 no.2
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• pp.61-73
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• 2008

The purpose of this study was to improve interest and attitude of student's Technology-Home Economics Curriculum and to recognize the change of recognition on Traditional image through Natural Dyeing and Jogakbo making on the unit of making living goods with fabrics in Technology-Home Economics curriculum on first year high school. The abridged result of study following this: First, in Natural Dyeing and Jogakbo making, teaching-learning plan applying LT cooperative studying and learning materials have been developed. Second, after applying the developed lesson plan, the result showed that the change in learning interest and attitude about Technology-Home Economics curriculum was positively improved. After executing the class on Natural Dyeing and Jogakbo making, the interest and concern about tradition were very positively upgraded through the result analyzing the change of recognition on traditional image. Through these results, The Teaching-learning plan and learning materials would show high possibility of application as educational contents about traditional culture in the field of education. After executing the class on making of Natural dyeing and Jogakbo, the learning interest degree and attitude was very positively upgraded, and the recognition on traditional image had been changed to the active and positive recognition.

• Journal of Conservation Science
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• v.30 no.3
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• pp.307-315
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• 2014

The gold textile is Korean traditional weaving technique using the gold thread since 5th century. The making technique of gold thread was written in various references, but it is severed because the gold thread weaving equipment and sumptuous moods were forbidden in the early 18th century. There are some studies of traditional gold thread which are mainly about conservation treatment of cleaning and strength. To restore traditional gold thread, investigation of material and manufacturing technique is vitally required. The gold threads are composed of gold leaf, adhesive and base sheet. Gold leaf and base sheet are available for investigation because they are exposed to the surface, whereas adhesive is not easy to investigate because it is not exposed to the surface. In this study, samples are made of pure and impure gold, animal glue and lacquer, and various types of Hanji based on domestic and foreign references to compare materials for gold threads. As a result of morphological character and stability evaluation, the optimum materials for the restoration of gold threads are pure gold, animal glue and Dochimji(smoothing paper by beating). This study is expected to be basic data for manufacturing gold threads techniques and modernization of traditional gold threads hereafter research.

• Journal of Internet of Things and Convergence
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• v.6 no.4
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• pp.33-38
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• 2020

It was reported that a mobile application was designed to easily provide natural dyeing information such as natural dye related resources, colors and dyed fabrics in 2007. Since studies on the linkage, application, etc. between natural dye dyeing and IoT are still lacking, diversity of information on the change of dyeing pattern by natural dye dyeing is required. In this study, it was to construct dyeing information by natural dyes, e.g., Lithospermum erythrorhizon, on silk, which has been traditionally used as many fibers in Korea. The extraction of the dye from L. erythrorhizon was carried out under pH4. The dried root of L. erythrorhizon showed dark brownish purple. Silk fabric by a without a mordant typically showed a purple dyed pattern. In the staining by sodium tartrate plus citric acid, silk fabric was stained clear brown. Interestingly, the mordant of iron (II) sulfate, the silk fabric was dyed in a light gray color rather than black. When the mordant of aluminum potassium sulfate was treated with L. erythrorhizon-extracted dye, the results were almost the same as when the mordant was not treated. When the degree of dyeing was evaluated numerically, the treatment of the mordant of potassium dichromate was about 50% darker, and the dyeing by iron (II) sulfate was about 75% darker. These results will be helpful in the study of applying various dye colors using L. erythrorhizon, and it will provide information on dyeing controller and database system construction by dyeing parameters such as dyeing degree, pH concentration, and chromaticity change.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.6
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• pp.1226-1240
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• 2024

The purpose of this literature review is to identify the types of cotton fabrics recorded in the accounting record documents of Song Hwa-seon, a wholesaler in the early 20th century, and to clarify characteristics of each type. First, the changes in the cotton industry in the late Joseon Dynasty were examined through ancient documents and previous studies. Next, the types of fabrics that could be classified as cotton fabrics in Song Hwa-seon's Janggi were extracted, and the frequency of each type was analyzed. Finally, the characteristics of the cotton fabrics recorded in the Janggi were examined through literature and newspaper articles published at the time. The results of the study are as follows. First, the cotton fabrics recorded in the Janggi could be classified into 12 types, with Gwangmok being the most frequent, and Ok-yangmok being the second most frequent. Second, it was confirmed that a significant amount of Western and Japanese cotton textiles, were distributed in the modern Korean market. Third, while imported cotton fabrics of broad width were popular in the early 20th century, it was confirmed that the demand for traditional cotton textiles, characterized by a narrow width was also high in the domestic market.

• Journal of Conservation Science
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• v.37 no.2
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• pp.120-134
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• 2021

A Woolen carpet from the late Joseon Dynasty was unearthed in the process of repairing Seongjeonggak in Changdeokgung. Since relics are rarer than documentary records, the woolen carpet is highly valued as a relics. It is presumed to have been woven in the late 19th or early 20th century because there is a record of repairing Seongjeonggak in 1907. In the carpet, a pattern is made by inserting colored yarn dyed yellow and red onto a reddish-purple ground weave. The selvage of the woolen carpet used cotton thread, and jute is used for the warp and weft of the ground weave. The colored patterns is made of wool in the form of loop pile. Cut piles may appear occasionally when the colored yarn changes, but are almost invisible from the surface because they are pressed tightly with a shuttered weft. Making carpets with jute and wool is thought to be influenced by the Brussels carpets of the mid-18th century. Furthermore, the woolen carpet is torn and the pattern is completely unclear; however, it is understandable that the pattern is partially repeated. Microscopic and Fourier transform-Infrared spectrometer(FT-IR) analyses were performed for the above investigation. To identify the dyes used in relics, we compared them with natural dyed fabric samples based on chromaticity measurements and Ultraviolet/Visible spectrophotometer(UV-Vis) analysis. These analyses revealed that the woolen carpet's dyed green yarn did not use indigo, and reddish-purple ground weave is estimated to have used Caesalpinia sappan.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.62-75
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• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.3
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• pp.163-177
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• 2024

Korea has preserved a highly sophisticated silk fabric culture throughout its history. Among these fabrics, Ra (羅) was considered to be a premium gauze fabric that required advanced skill and dedication to utilize. Ra is a complex gauze fabric in which four warp threads are twisted together and intersect with the weft to form intricate holes. This unique structure gives Ra its distinctive transparency and elasticity among silk textiles. It was widely used for veils, garments, and various items from the Three Kingdoms period to the Joseon Dynasty. However, its complex weaving process limited production efficiency, leading to its decline. Today, Ra has become obsolete. This study focuses on the elastic characteristics of Ra, where intersecting warp threads create net-like structured holes. This stucturre was emulated by developing a silk knit using a Raschel knitting machine. The developed product consists of three types: one replicating the alternating complex structure present in the traditional patterns of Munra (紋羅), another reproducing the distinctive hexagonal holes of the 4-end complex gauze, and the last expressing the hexagonal holes with the weft passing through them. Inspired by Ra's traditional uses in clothing and everyday items, various products were designed and produced. These include a women's coat with Akjureum, a 17th-century Joseon-style women's Jeogori, a modern market-style Jeogori, and a envelope inspired by a Goryeo Dynasty pouch artifact. These items confirm the potential and applicability of the developed silk knit as a material for modern Hanbok products. This study underscores the significance of developing new textiles that incorporate traditional materials, highlighting how tradition can be preserved in diverse ways.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.