• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.9
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• pp.1571-1582
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• 2001

한국 전통 의상인 한복 치마의 형태는 천의 특성에 크게 좌우된다. 이에 본 연구에서는 직물의 물성과 착장시 한복 치마 형태의 관계를 규명하고자, 8가지 직물을 선택하여 물성을 측정하고, 비접촉 3차원 인체계측시스템을 이용하여 , 치마 착장시의 5개 수평단면, 2개 수직단면을 작성하였다. 수직 단면에서는 실루엣을 나타내는 각도, 수평단면에서는 단면의 부피감과 드레이프의 형태를 나타내는 노드 간격, 거리, 각도를 측정하였다. 첫째, 경연도, 신장률, 실 두께, 직물 무게의 직물물성요인에 따라 실험 직물은 4집단으로 분류되었다. 둘째, 직물의 물성과 노드의 형태의 관계를 살펴본 결과, 직물이 뻣뻣하고 가벼울수록, 치마윗부분의 각도가 커지며 , 부드럽고, 신축성 이 있고, 무겁고, 두꺼운 실로 짜여지면, 튜블러 형태 의 실루엣을 나타내었다. 셋째 , 수직 단면도상 치마 위쪽과 아래쪽의 퍼짐각도 및 수평단면상의 둘레, 노드간의 거리, 가장 긴 파고와 같은 단면 계측치는 직물물성에 따라 추정 이 가능한 것으로 나타났다.

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.342-343
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• 2004

• Journal of the Korean Society of Costume
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• v.8
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• pp.29-55
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• 1984

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.4
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• pp.657-675
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• 2020

This study suggests a direction for design development through an analysis of the experiential rental Hanbok design in Jeonju Hanok Village. As a research method, 268 outfit photographs of tourists wearing experiential rental Hanbok for women were collected as design analysis data from Jeonju Hanok Village. Frequency analysis was then performed by dividing into form, color, material·pattern, and detail. The controversy over the design of experiential rental Hanbok revolves around how and how much tradition is reflected. This is a very important part of the design analysis and development direction. If necessary, traditionality was discussed using the Hanbok style of the Joseon Dynasty as a standard. Development directions derived from the analysis are summarized as follows. First, avoid the distorted shape of skirts. Second, develop underwear for traditional silhouettes. Third, expand traditional colorations and avoid the excessive use of accent colors. Fourth, it is necessary to develop rental Hanbok materials with decorative features. Fifth, there is a need to design flat pattern construction for rental Hanbok that reflects a standardized production method and a changed aesthetics.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.8
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• pp.1378-1385
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• 2001

Textile The purpose of this research is to develop the design for activation of women s hanbok focused on functionality and convenience as well as on keeping the traditional beauty, and then to produce them. As a result of these explorations, I have reached conclusions as follows. first, the transformation of jackets and skirts are mainly limited to partial change in elements of the dress design-width and length of a jacket string and the upper strip on the outside of a jacket, change in width, and granting of symbolic meaning. Second, aesthetic features and formative beauty of traditional hanbok that the harmonization of mainstream colors and highlighting colors and curved silhouettes evoke were mental by products created as our people wished to become friendly to and to harmonize with nature. Third, grounded upon study of lines form and survey on brands, I have developed designs that maintain hanbok’superiority and at the same time incorporate functionality and convenience to fit modern life. I believe that the outcome of these of these explorations will contribute greatly to carrying the traditional beauty of Korean dresses to the maximun, and to developing and popularizing functional and practical living-fitted Korean dresses.

• Journal of Sericultural and Entomological Science
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• no.11
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• pp.87-94
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• 1970

This study was conducted in order to find out the tendency of sericultural woman's clothes. This data was based on random samples of 183 sericultural women throughout the country, and was derived from the investigation of c1othes (western and Korean-style) which had been made during the years, 1967∼1969. The results obtained are summarized as follows: 1. Western-style clothes were about twice as popular as Korean-style, and more evident among the young women. It was also shown that the ratioes mentioned above were gradually decreased year by year. 2. Most popular among the western-style clothes were blouses, one-piece dresses and skirts. Jogori(coat) and Cheema(long skirt) were favorites among the Korean-styled clothes. One-piece dresses showed increasing tendency of use year by year. 3. Costume-made clothes were much more in number than the home-made and the ready-made types. The home-made and the ready-made clothes increased as the ages increased. 4. Western-styled clothes were popular in summer seasons while Korean-styled clothes were popular in the winter time. Among the western-styled clothes one-pieces dresses and two-piece suits were most popular during the spring through autumn. In Korean clothes the Cheema was popular all year round. 5. Western-style clothes were mostly made of polyester and their blends. Silk was the least used fabric. On the contrary, most of Korean-style clothes were made of silk and their blends. The synthetic fibers showed increasing use year by year. 6. Favorite colors were in order; white, blue, brown, and black in western-style clothes; white, blue, green, and gray were in Korean style clothes. Young women teaded to have a wider preference of colors than the older women.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.123-131
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• 1998

This research was investigated the improved changes of Korean traditional costume after introducing the western costumes in this society. For this study microfilms of Chosun llbo, the popular newspaper since 1920s, and costume magazines for 1950s and 1960s were examined. The periods of the improved changing of Korean traditional costume were divided by the characteristics of qualitative and quantitative changes. Those were two, such as passive period and active period of change. At passive period, the change was not far from the original from of traditional costume and it was limited to the waist of skirt, length and width. But at active period, there was distinctive change from the previous period. Active period is divided by 2 sub-period again. In 1950s, the concept of darts of western costume was accepted to Korean costume and there was the western clothing for everyday costume, the characteristics of Korean costume were added to the base of the western clothing. It was named 'Arirang dress'. Original Korean costume had worn for special occasions since late 1950s.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.2
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• pp.109-121
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• 2013

Modern Hanbok uses newly different color coordination based on traditional color coordination and symbolic meaning. Thus, this study would investigate the aspects of color coordination and symbolic meaning and present the characteristics of Hanbok as the data of corresponding period in the modern times. In order to investigate recent trend of preferred colors and color coordination of Hanbok, this study focused on the period of 2005~2010. When analyzing colors of Jegori(jacket), Wh, Y, B, YG, P and Gy series are shown in order. For trends for color of Chima(skirt), Pk, R, P, Gy and Bk series are shown in order. When you look into the color coordination of skirt and jacket on whole, color coordination of Pk-Wh represents the highest frequency. Color coordinations of Pk-Y, Pk-B, R-Y, R-G and Pk-G are followed in order. Color coordinations of R-YG, Bk-Wh, O-Y, P-Wh, Pk-YG, Gy-Y, R-Wh series and Gy-Wh are followed in order. When looking into characteristics of overall color coordination of Hanbok, it was shown that there were many opportunities to meet a variety of culture and various colors had emerged depending on individual taste and skin color in the modern times within the framework of basic colors of woman's 'Nokeuihongsang'(Green upper garment and red skirt) R-G, Y series, which are traditionally inherited. In addition, unlike existing traditional color coordination of five elements in the past, P, Gy and Bk series of color appeared in the skirt and Jacket. It could be affected by fashionable drama and films at that time and newly attempted colors ahead of fashion were reflected on the magazine. Therefore, it implied that it naturally gave new awareness of colors to the general public and the width of selection of colors became diverse.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.159-171
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• 2018

The apron, which corresponds to an important clothing form, changed according to the taste, age, appearance and meaning of the wearer as well as from past to present. Decorative function and practical functions appear in the costumes of the East and West. Anak No. 3 tomb, Korea's 4th century Goguryeo tomb mural, was depicted in the form of a woman wearing a white apron and working in the kitchen, which is similar to that of a current kitchen, and the shape and purpose of the apron is similar to the present one. The characteristics of Korean aprons are summarized as western similarity, traditional reproducibility, and practical functionality. The U-shaped apron with the hem decoration of Goguryeo is similar to the apron of Crete with a rhombus pattern and hem decoration. Despite differences in time, it can be seen as traces of a cultural exchange across the East and the West. In addition, Korean skirts were decorated with wrinkles and a hem decoration based on rectangles. It is a reproduction of a traditional skirt and is different from a Western apron with a chest strap. In the Anak No. 3 tomb mural, women were wearing the first aprons that showed a practical functionality and not a decorative use.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.53-66
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• 2012

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.