• Journal of Conservation Science
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• v.32 no.3
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• pp.345-352
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• 2016

The purpose of this study is to analyze on the textile used for book covers of "Gukgiboksiksoseon" and "Boepboksajeolboksaek", and slipcase of these books kept in the Oryundae Korean Martyrs Museum in Busan. These records are estimated to be written by Gyeongbin Kim(1831-1907), who was a royal concubine of 24th King Heonjong (reign 1834~1849) of the Joseon Dynasty. The cover textile of slipcase and two books are investigated to be silks by the FT-IR. The cover textile of slipcase is flower patterned satin with silver thread and the cover textile of two books are green and red with Su characters and bat patterned satin. The blackish part of pattern of slipcase is investigated by silver thread by FE-SEM-EDAX. Moreover, by the dye analysis, berberine, brazilin, and carthamin are detected from the cover textile of "Boepboksajeolboksaek". It is indicated that it was dyed with an amur cork-tree, a sappanwood, and a safflower. And rutin which is the main dyestuff of the sophora flower of the pagoda tree was detected from the yellow thread of the cover textile of slipcase.

• Journal of Conservation Science
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• v.32 no.2
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• pp.141-154
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• 2016

The gilt-bronze decorated bamboo mudguards with heavenly horse design excavated in 1973 at Cheonma Tomb of Shilla are the unprecedented relics in Korean history as it has its original structure. Although the bamboo mudguards were excavated in not only Cheonma Tomb, but also in Geumgwanchong and Geumryeongchong, all of them remains into pieces. In addition, there are no exact data related with its structure and manufacturing technique. The report deals with the manufacturing technique of the bamboo mudguards with heavenly horse design excavated in Cheonma Tomb through the naked eye's observation, X-Ray Fluorescence, and Transmission X-rays analysis etc. Bamboo mudguards basically have the three divided structure with central-focus structure of a radiation style. And the mudguards consists of Bratticing gilt-bronze, fabric, and bamboo plates together, as ornamental fringe of 4 plates. The surface of the gilt bronze plates was decorated with a variety of workmanship and pendant. Bamboo plates have a waved pattern by using about three hundred bamboo bark. Two types of textiles were mainly found in the textile plates, and the leather were partially found. In order to combine all plates together, gilt-bronze bottonhead, pendant decoration, and ornamental fringe were used. It would be helpful to study bamboo mudguards during 5th-6th centuries in Shilla period and basis investigations of Geumgwanchong and Geumryeongchong excavations.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.107-117
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• 2020

Animation films form a substantial part of pop culture and depict the sociocultural changes and values of the time in which they are made through visual expression of story and characters. In the process of appreciating animation films and accepting the characters, the audience learns the gender role behaviors that appear in the works as socially acceptable representations of men and women. This study illustrates whether the expression of gender role and behaviors of characters from animation films have changed over time or not by analyzing the costume and gestures of the female protagonists in 'Mulan', 'Tangled', 'Moana', and 'Frozen 2'. These films are considered to reflect the modern female identity on their story and characters. The study confirms that the stereotypical gestures and behaviors of women are still used today to portray the female protagonists in the animation films contrary to the story composition and various aspects of characters which escaped the formal stereotype. It is important for children and adolescents, the main consumers of animation, to learn and know how to consume media properly. Thus, this study seeks to illuminate the importance of research on animation literacy eduction for children and adolescents by examining the visual expressions and their implications in various animation films.

• Journal of Digital Convergence
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• v.12 no.6
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• pp.637-643
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• 2014

The purpose of this study was twofold: 1) to analyze the impact factor of clothing and textile-related journals by utilizing the average number of cross-citation that evaluates the relative importance of an academic journal and 2) to provide a list of journals with higher impact factor by analyzing closeness and betweenness among individual journals through graph networks. To fulfill this, a total of 10 clothing and textile-related journals, which are accredited by National Research Foundation of Korea, were analyzed. For analysis of the average number of cross-citation, the targeted research papers were limited to those published between 2008 and 2011 and they were derived from the Korea Citation Index. The software used for network analysis was R ver. 2.15. The results of the study were as follow: First, 'The Korean Society of Knit Design' was indicated as the highest rate of self-citation, followed by 'Journal of the Korean Fashion & Costume Design Association.' Secondly, the average impact power of clothing & textile-related journals was relatively lower (0.681) compared to that (1.00) of 23 journals under the human ecology discipline. 'Korean Journal of Human Ecology' was found to have impact factor of 1.24, which was higher than the average impact factor of human ecology-related journals. Lastly, together with 'Journal of the Korean Society of Clothing and Textiles.'

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• 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.

• Journal of Fashion Business
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• v.5 no.4
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• pp.158-175
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• 2001

The purpose of this study was to understand and improve the clothing habits and the apparel industry of North Korea in preparation for the reunification of South and North Korea. For this study, literary data, reports, periodicals, interviews and internet data of the two Koreas were reviewed. North Korean clothing habits used to be monotonous and uniform but nowadays people's clothes have become somewhat brighter in color and more diverse in design than before. In particular, liberal and individual dressing habits appeared among the privileged classes. When taking part in national events, women have to wear the traditional Korean costume, Hanbok, while men wear business suits for formal wear. In general, men don't wear Hanbok. Students have to be in uniforms but blue jeans, T-shirts with English logos were popular among them reflecting their sensitivity and openness towards western cultures. The brides usually wear pink Hanboks and the bridegrooms wear black business suits for their wedding. North Koreans also wear Hanbok on national holidays like South Koreans. Clothing is the most important item in the trade of process commission between North and South Korea. Trading items are mid to low end men's clothing for the most part due to less emphasis on fashion in the North. The processing is indirect trade and composed of sample making and contracting, sending out materials and production, carrying in goods and setting accounts. To activate South-North trade, establishment of infrastructure, stabilization of shipping, reducing high costs of distribution, building direct communication system by setting up office in a neutral zone and simplifying procedures in applying for the South and North Korea Economic Cooperation Fund. On the other hand, clothing and textiles education is carried on at art colleges, light industries colleges and commercial colleges in Pyongyang. Clothing institutes which study Hanbok and Western clothes, are installed in each city and province. Graduates who majored in clothing and textiles are posted in institutes or apparel factories. Their job is designing, patternmaking and sewing for their customers. Most of them are women and in good state of economic conditions. The North Korean clothing industry has been the core national industry that has developed based on overseas demand form the mid 1980s. The standard is that of South Korea in the early 1980s. In 1999, trade of North Korean textile products with trade counterparts such as Japan and China was $1.3 million in exports and $1.27 in imports. Of this amount the export takes up 25.4% of the total exports in North Korea. However, fundamentally even in sectors that are irrelevant to politics such as the fashion clothing industry, trust between the South and North should be a prerequisite. Only through this can exchange between North and South and economic cooperation contribute towards the reunification.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.31-47
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• 1979

1. The old Korean costume had two different kind of dress, one was a military uniform (Goon bok) for military only and the other was uniform (Yoongbok) for civilian and militarian. 2. The military uniform (Goonbok) were dressed under armour, was for war time. And the civilian and military uniform were dressed under Mo (Hat) and Po (Coat dress), was for War time or emergent case. 3. Armour were made of leather in ancient times but later they were made of metal. 4. In generally, armour is classified; 1) To protect neck 2) To protect shoulders and arms 3) To protect breast 4) To protect both legs 5) To protect hands 5. Armour and military uniform (Goonbok) for military only. at the time of three Nations (Ko-kuryo, Bakje. Silla) 1) Armour-a) Identified by found relics or ancient wall picture. b) They had improver! armour. c) Armour of three Nations were resembled each other. 2) Military uniform(Goonbok) a) The Jeogori reached to hip area was called Jangyoo. b) The pants were tight trousers. 6. Armour and military uniform (Goonbok) for military only at Koryo Dynasty. 1) They had improved armour like three nation's age. 2) They were made of iron. leather, paper or cloth 3) The color was white. puple. red. 4) Military uniform(Goonbok) a) Hat-(1) Banggak (2) Josamoja (3) Ibgak (4) Jakwan (5) Sabgak (6) Sumale (7) Jaragwan (8) Kummoja (9) Mubyunkwan (10) Pyungyunchek b) Dress-(l) Jayeisokade (2) Bosanghwa Gayendae (3) Hongbeja Rokrahansam (4) Jag- ongbok Hongeung (5) Jagongbok Jogeung (6) Kumyeisokdae (7) Bilapeja Rokrahansam (8) Jasupoto (9) Kumyei Honggung (10) Kumyei Dokuyeunsokdae (11) Bibosunghwa Dongokumdae (12) Bidaesuyei Kayeundae (13) Jasosulansam (14) Biyeiko (15) Chung-yei Dongsim Sokdae 7. Armour and military uniform of Lee Dynasty 1) Armour-a) the Helmets were attached with visor ar without visor, and later it was added the neck protecter. b) dresses were given various names according to the materials used. for example, Suiejakap or Kyungfunkap. 2) The military uniform (Goonbok) were composed by molip, Hyunchungsakpuja, Jundae, Soowhaja. 8. Military uniform (yoongbok) for civilian and militarian 1) The unifom was developped through Imjin war, Byungja war since the middle of Lee Dynasty. 2) The military uniform (Goonbok), (Yoongbok), armour were by the established dress reg-ulation of imperial ordinance dated April 8th, 1895 which falls 35th year of Kojong. the dress regulation was based upon the western uniform.