• Journal of the Korean Society of Costume
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• v.18
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• pp.247-268
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• 1992

The Clothing expresses people's desire of beauty most directly of all cultural inheritances, and it teach us how the human culture has changed and developed. In this study researched the history of buttonholes which make the clothes more functional and beautiful. Buttons and Buttonholes is one of detailed elements they used as a fastener or as a decoration on clothing. Button have been used since ancient times, in early times long before buttons were used as fasteners they had significant decorative and symbolic value. In ancient times, clothes fastened with pins, brooches, fibular and ties. In medieval Europe, it was not until the 13th century that they used the button in functional use, and then Chong Ryung-Lk was introduced from orient, and they became popular as fasteners on clothing during the 13th century when fitted clothes replaced loose garments. Garments were laced together or fastened with buttons, until buttonholes were invented in the 13th century. But as early as the 14th century it appears that someone discovered that a loop slipped over a button, or button pushed through a slit in the cloth, would make a good clothes fastener. Many buttons made during the modern ages were convex medallions set in metal rims and decorated with partraits of famous men and women. During the modern ages, buttons, with ligh-ographed pictures, covered with celluloid of glass were popular. In the 19th century, the mass production by machine made people use the button easily, and many different material of button easily and many different material of button was made. With the begining of the 20th century. the development of plastics led to various and functional buttons. The type of buttonholes also became various, as bound buttonhole, Tailred buttonhole, Worked buttonhole, Loop buttonhole and so on. The button has many forms which were imitated by nature, or made geometrically and the appearance of the button from behind is classified by what has holes and what has holes and what has a shank, and I also classified the kinds of button by the quality of the material design and use. Like this, with the passing of the time buttons and buttonholes have changed in appearance with the change of clothes, and they have standed for something meaningful as well as fixed the opening and made clothes more beautiful.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.163-180
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• 1998

The purpose of this study is to investigate the main characteristics of the environment-friendly design expressed in Koran fashion. Environment-friendly design can be categorized into choice of material, extension of products life cycle, and recycling design. In this study, Korean fashion designers can be found having the conciousness of environment for fashion design since 1990. First, in choice of material, the designers used Natural fibers which are cotton, linen, wool, and etc, and used natural dyes. Some of the designers have moved from using real fur to using fake fur for animal welfare. But fake furs produced from synthetic or regenerated fibers have the environmental problems during textile production processes. Some of the designers used fake leather made from the skins of an edible fish which are otherwise going to waste. Secondly, Design for extension of products life cycle can economize the resources and energy. Design for extension of products life cycle are classified into reversible clothing, many function clothing, modular style, patina clothing, simple style, and layered look. Finally, recycling design are classified into recycling of daily necessaries and expression techniques of recycling design which are designer's works used patchwork, mash techniques, and handmade of knits or buttonhole stitch.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.133-153
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• 2009

Clothing was excavated when the Bae's clan of Seong-san, Yeong-dong, Chung-buk in Sep. 2, 2004. The tombs that the clothing could be restored were the tombs of Bae Cheon-jo(10th generation) and the tomb of Mrs. Nam of Go-seong, the wife of Bae Sang-gyeong(1lth generation). For identifying the features and methods of sewing used for the clothing of man and woman around Po(coat in Korea in the past) in the 16th to 17th century, this study investigated 12 items from Bae Cheon-jo's tomb(Sibok, Dopo(robe), Jungchimak(outer coat with large sleeves) and Gwa-du and 5 items(Jangok(lady's cloak) and Jungchimak) from Mrs. Nam's tomb of Go-seong. For sewing, broad-stitching, hemming and even-back-stitching were used the most in that order. Furthermore, various kinds of sophisticated stitching including old flat felled seam, decorative saddle stitching and buttonhole stitch, clothing made roughly as a shroud and fabric attached on the clothing were also observed. We may not have many opportunities to understand the change of clothing in Korea from mid 16th century to mid 17th century through the clothing of father-in-law and daughter-in-law in a family. As a result, we will be able to understand the features of sewing in a family and from the 16th century to the 17th century.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.