• 대한가정학회지
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• 제26권2호
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• pp.39-47
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• 1988

The aim of this study is to grasp the actual state of high school girls' clothing after liberalization of their uniform and to provide the reasonable guidance materials in clothing for both schools and homes. These are the results of the study 1. In the aspect of the favor of clothing and the interest in about clothes. a. They were fond of wearing "T" shirts, blue jeans in summer and pants and jackets in spring as their school wear. That implies that they enjoy wearing active and practical clothes. b. In the aspect of color, majority of them favored blue or similar colors, Also they had the tendency to love soft, simple clothe and more students preferred cloth without pattern. c. In their choice of them, they seldom paid attention to the informative-label are not their chief interest. d. More than half of girls prepare one or two suits in advance in a season, and they would prepare them deliberately This implies that their everyday life inclothing is based on the economic motive. 2. In the aspect of the purchasing clothes, a. Most of the girls bought them at the market and some of them at the direct-sales stall. b. when they purchased clothes, most girls were accompanied by their/mother and senior girls more often by their friends. c. The price and kinds of their favorite clothes such as "T" shirts and blouse was 5,000 won or so, and skirts, pants, one-piece and jackets are from the range of 5,000 won to below 10,000 won mostly. d. In regard to so-called brand-name items by popular designers, half of the girls responded that they wear some of such kinds of items because of superiority of sewing and longterm wearing, and the other half tend not to wear them due to high price.

• 복식
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• 제53권5호
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• pp.97-110
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• 2003

This study was done to investigate the wearing experience, the taste and attitudes toward Korean Costume(Traditional and Saenghwal Hanbok). Data were collected by self-administered question from 307 elementary school children and 307 mother during 7, 2002. Conclusions are as follows : 1. Hanbok was worn mainly in the first birthday of children and 6∼7years old. But it was rarely worn in 4th∼6th grade of elementary school. Most of children had worn the Traditional Hanbok, about 30% had worn the Saenghwal Hanbok. 2. Childrens liked Saenghwal Hanbok more than Traditional Hanbok, girls liked Hanbok more than boys did. And 31.4% of boys disliked Hanbok, the main motives for dislike were concerned with the discomfort to move, the feel of cloth and becoming. Boys prefered the style of ´vest/ Jeokori/ Bajii´ in Traditional Hanbok, and ´half-sleeve Jeokori/ Baji´ in Saenghwal Hanbok. Girls prefered the style of ´Dangeui/ Chima´ in Traditional Hanbok, and ´One piece/ Jeokori´ in Saenghwal Hanbok. Childrens prefered analogous color scheme to contrasting color scheme. Boys prefered the blue groups, girls prefered the orange and red groups. 3. Childrens had more positive attitudes towards Saenghwal Hanbok than Traditional Hanbok. Mothers had positive attitudes towards both these types. And the attitudes toward Saenghwal Hanbok and Traditional Hanbok of childrens were more positive than mother´s. Therefore the following suggestions may be proposed for the development of Hanbok for children. 1. Hanbok is need to be designed considering activity, feeling and becomingness for teenagers. 2. Hanbok design must be kept seperated Traditional Hanbok and Saenghwal Hanbok. Traditional Hanbok is need to emphases tradition, Saenghwal Hanbok is need to apply a western style and have a practical use.

• 복식
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• 제23권
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• pp.151-168
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• 1994

The purpose of this study is to examine all kinds of Kwanmo of Kokuryo. The results are as follows . There are nine kinds of Kwanmo in Kokuryo : Kun(건), Chaik ( 책), Jeolpoong(절풍), Sogol (소골), Jowookwan (조익관), Rakwan (라관), Kagkwan(각관), Rip(립) and Jumdongkwan (금동관), Kun(건) is a piece of cloth which covers hair. There are two types of kun(건) : Hari band type and entire head cover type. Chaik(책) was originated in China , but people of Kokuryo didn't wore chinese Chaik (책) as it was. They created unique shape of their own. Jeolpoong (절풍) is the cone-shaped knwanmo which is chiefly made of leather. In the early period it was worn by the nobility , but gradually trickcled down common people's Kwanmo. Sogol(소골) is the cone -shaped Kwanmo which is made of silk and decorated with gold and silver. Only the nobility wore it, Jowookwan(조익관) is the knwanmo decorated with natural bird feather or metallic feather. Mainly it was worn by the nobility in hunting , Besides, worriors, diplomats, dancers and musicians wore it. Rakwan (나관) was worn by the highest class. There were three kinds of Rakwan (나관) : Baekrakwan(백나관). Cheongrakwan (청나관) and Birakwan (비나관). The king of Kokuryo wore BAekrakwan (백나관). It was simlar ini shape to chines Mookwan (무관). Kagkwan (각관) was the kwanmo unique to Kokuryo. It was used by the nobility . Rip (립)was originated on purpose to protect people form the sunshine or rain. There were two kinds of Rip(립) ; Bangrip (방립) and Pyungyangja(평량자). The former was used by the nobility, the lattr was used by common people in hunting . The Kwanmo which was decorated with gold and silver developed into Kumdongkwan(금동관). The Kwanmo which is similar to Kumkwan (금관) of Baekje and Shilla has been shown in Kaimachong (가마총) 무 dJumdongkwan(금동관) was excavated in the ancient tombs of Kokuryo.

• 한국의상디자인학회지
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• 제23권4호
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• pp.105-116
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• 2021

Pillows are tools that humans have used for a long time to sleep or lie down and rest. It is bedding, and the oldest literature dealing with it is Volume 29 of 'GoryeoDogyeong', which describes embroidered pillows. The oldest relic is the queen's pillow (National Treasure No. 164) excavated from the tomb of King Muryeong, and is in the Gongju National Museum. This study attempts to investigate and reproduce the materials used in traditional pillows Yukgol pillows and pine nut pillows designs are based on literature and artifacts from the Joseon period to modern times. Regarding the research method, after reviewing literature and the relics of traditional pillows, the process of reproducing the traditional Yukgol pillow and the pine nut pillow production method were explained step by step. This study found the plain attitudes in the lives of people who used materials that could be easily gained from their daily lives in rural communities oriented to rice farming never recklessly threw out any piece of cloth or cotton and use it for pillow stuffing or pillow ends. Also, the sophisticated sense of aesthetics that you can see from the pine nut pillows, whose ends were made of remnants from making clothing are exquisitely similar to what was shown in patchwork previously. The biggest meaning of restoring traditional pillows was looking into traditional culture, particularly the ordinary people's living culture. It was very difficult because the researcher had to find materials that were difficult to obtain in this age, the making process was complex, and it took much time; however, it is significant in that the restoration of traditional pillows allows for the succession of tradition.

• 복식
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• 제1권
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• pp.101-117
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• 1977

This thesis is a study of the Simui(深衣) system which was a dress regulation peculiar to old China with skirt and coat. The origin of Simui is a very long time, that is, before Ju dynasty in China. Its wearing range had a large circle irrespective of rank and good or bad luck. This was a ordinary dress to the Emperor or the lords, a below court attire or a below sacrificial rites attire to the illustrious officials, and good luck dress to the common people. But this was a funeral rites attire or coming-of-age ceremony attire in domestic behaviour. In the times of Song dynasty, lots of confucian scholars had put on this simui because of Juhi's recommendation for domestic behaviour. This Simui had been put on through all the times of China and was the original text of all the dress. Especially the court attire and silkworm working dress of Empress, and the court attire and underwear court attire of Emperor is also made out of this Simui, therefore this is a origin of the ceremonial dress which formed into long coat. In Korea it is said that this Simui was brought in prior to the middle of Goryeo dynasty. But we can't tell the correct transmitted age. According to the following records in Goryeo History, "King had put on the Simui as a sacrificial rite attire in the times of Yejong". It is sure that this Simui was brought in prior to the times of Yejong. In fact, lots of confucian scholars had put on the Simui since the introduction of confucianism in the end of Goryeo dynasty and after that time this was taken by many confucian scholars through Yi dynasty. Korean Simui system was complied with Chinese system through confucian domestic behaviour, This was respected for court dress of confucian scholars, as it were, Chumri, (an ordinary dress of scholars), Nansam (a uniform of upper student), and Hakchangui (a uniform of confucian student). There are many deta about Simui system in the book of Yeki, chapter Okcho and Simui, and other many canfucian books. But we didn't demonstrate the theory about it till now. Especially there are diversifies of opinions about the phrase of "Sok Im Ku Byun" in Yeki. Simui was cut in separate and then was stitched together in one piece. Generally its shape had round sleeve and angled lapel, its length reaches to the anklebone. And it has a line around the lapel, the sleeve band, and the edge of skirt. It is called Simui because the body can be wrapped deeply in broad width and large sleeve. The Simui was made of white fine linen and was cut by the natural size of body. Every part of Simui had a profound meaning; the round sleeve in compliance with regulation can keep a courtesy when a walker moves his hands and the angled lapel like a carpenter's square in compliance with square keeps them front loosing their Justice and a string of the back also keeps them loosing from their righteousness and the flat lower part of Simui makes their heart and mind calm. This Simui was usually attendant on a head cover and belt made cloth, and black shoes. This thesis was made a study of documents and portrait from Yi dynasty, for the actual object was not obtained.

• 한국의류학회지
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• 제3권1호
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• 헤리티지:역사와 과학
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• 제46권2호
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• pp.4-25
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• 2013

고리수는 편결(編結)과 금속공예의 기술이 접목된 새로운 형식의 수법(繡法)이다. 실올끼리 고리를 서로 엮어가며 공간상(空間上)에서 들떠 있어 마치 투조(透彫)와 같은 느낌을 준다. 수놓은 천에는 금박(金箔)이나 금실과 같은 황금 재질을 삽입하여 화려한 광택을 표현하고 있다. 이러한 특징은 고리수가 서구의 레이스워크(lacework) 공예와 그 형태 및 기법이 유사하면서도 가장 다른 점이다. 10세기 고려 초기, 강원도 월정사의 동자문수향갑낭(童子紋繡香匣囊)에서 고리수의 결구원(結構元) 무늬를 통해 초창기 자취를 발견할 수 있다. 조선 중기 왜란 시(1592, 선조 25년), 고리수 유물은 일본으로 약탈되어 '고려번(高麗幡)'이라고 불리며, 지금은 탁의(卓衣)의 형태로 개조되어 전한다. 19세기의 연대와 출처가 확실한 조선시대 궁수(宮繡) 베갯모에는 삼각무늬의 금박지(金箔紙)를 삽입하여 노란색 누에실을 엮어 짠 고리 감기수가 완벽하게 보존되어 있다. 고리수의 침법(針法)을 크게 분류하면, '고리수', '고리 감기수', '고리 새김수'의 3가지로 나눌 수 있다. 10세기경 초기 단계에서 13세기까지 고리수는 여러 침법으로 변화하며 점차 2~3가지의 입체적인 색채를 사용하였다. 고리수는 중세 이후 서양에서 비약적 발전을 보이며 고귀한 수공예로 알려진 레이스 짜기와 유사한 결구원을 지녔는데, 우리나라에서는 이미 10세기경 혹은 그 이전부터 편결과 금속공예가 접목된 복합적 공예 양식으로 탄생하여 천년 동안이나 그 수법(繡法)을 지속적으로 사용했다. 본 연구를 통해 한국에서 19세기 자수 베갯모에 고리수가 여전히 사용되고 있음을 밝혔다. 아울러 이러한 연구의 성과를 토대로 고리수의 원형기술을 복원했다. 그리고 '중요무형문화재 제80호' 기능보유자 한상수 자수장과 조선시대 고리수 유물들을 재현했다. 고리수 자수품은 편결과 금속공예의 황금세공기술이 자수공예와 접목하여 탄생된 전통과학기술의 복합적 산물(産物)이다. 이것을 계승과 창조의 새로운 방향으로 자수, 편결, 직조, 염색 등 기타 공예 관련 산업 분야에 확대 응용한다면, 의료(衣料)와 패션, 장식공예, 미술 디자인 등에 고급 부가가치의 신기술로 개발되어 활용될 수 있다. 또한 다른 공예기술과도 상호 보완된다면, 표현 영역의 확대와 더불어 다양한 예술적 조형미를 추구할 수 있어 우리의 삶에서 더욱 풍부한 미적 생활을 공유하게 되리라고 본다.