• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.465-469
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• 2003

The present study revealed; that (1) The students majoring in a piano course were the preference type of the performance dress - best line was designed of upper form chest. It was 1.5cm shorter than armhole line, the princess line was preferred Top one piece without sleeves which was designed with slim by bottom line through west dart form best line. The expression method was showing embroidery and bidding, colors were in order to white, ivory, black and blue style. The material was in order to silk with glorious shinning, silk satin and race style. (2) The students majoring in a vocal music were the preference type of the performance dress - the princess line was designed shorter, the west line of back and forth was preferred the one piece of bulk style divided with three partitions. Neck line was 5cm shorter than the middle of back, 9cm shorter than the side neck position, 9cm shorter than the middle of forth, sweet heart neck line with circular sleeve designed 7cm shorter than the side neck position. Colors were in order to ivory, red and yellow style. The material was in order to silk with glorious shinning silk satin and race style.

• Journal of the Korean Society of Costume
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• v.44
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• Journal of the Korean Society of Costume
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• v.37
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• pp.149-162
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• 1998

This study is thed Embroidery, Cross-stitchery, Weaving, Wax-Printing of technique and design appeared in textile of Miaos dwells in south-west among the minority people of china. The study is as follows. First, the technique of textile1) satin stitch, couching stitch, french-knot stitch, etc. using anther silk thread or cotton thread color 2) cross-stitchery 3) hand-weaving technique which is shaped other warp or weft using simple loom 4) the technique of dyeing of pattern using effect with wax. These methods are singly used mixing together, therefore doubled beauty. Second, these technuque of ornament have other independence, specially ornament apron, sling, sleeve borders, slack borderss, edge of upper garment, take off and put on easily, heighten effect of various ornament, can preserve many years. Third, Maker, female born in this country fashion by need of herself, used liberal method shown in unique creativity of life. This texture make standards capable female proud of intelligent and skill of herself. Fourth, Design appeared in textile like as pattern flying bird in the sky, strolling beast in the field, lion rolling gem, laughing dragon winding snake at gem, birks, flowers, fish, butterfly is used as the wish of long life, a lucky sign. They expressed creativity and unique conception using formation : the technique transform other shape using by omitting or adding or overestimating. Geometric pattern of tartan, revealing, Fifth, composition structure having balance and symmetry or contradiction towards center and circumstance of the center harmonized repeatedly method, expressed unique artful attraction by full composition.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.1-15
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• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.

• International Journal of Costume and Fashion
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• v.16 no.2
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• pp.67-79
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• 2016

The Oroqen (鄂伦春) traditional costume refers to what the nomadic Oroqen people used to wear before they settled into fixed communities. With very limited contact with the outside world and with limited resources, the clothing material was virtually entirely animal hide. With settlement, especially after 1996, animal hide clothing has declined among the Oroqen. As an important part of Oroqen tradition and culture, the Oroqen people keep endevoring to promote costume design through competition and exhibitions. Therefore, this paper seeks to present an insightful understanding of Oroqen culture and the formative features of their general clothing. We explored the formative features of Oroqen animal hide clothing based on an analysis of actual artifacts and literature. As a result, the characteristics of Oroqen hide clothing were found in five types - coats, trousers, hats, shoes, gloves. For the decoration, embroidery and applique were their way of decoration, and Mother Nature was their source of pattern design.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.101-113
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• 2006

The purpose of this study was to investigate and compare the characteristics of the motifs on cultural goods in In-Sa-Dong Street, Seoul, with those in Art Street, City Hall, Kwang-ju. For this study, 607 cultural goods were collected from the two cities: 265 in Seoul and 342 in Kwang-ju. Total cultural goods were classified by accessories, decoration pieces, stationery and ceramics and were studied by repetition patterns, motifs types, representative techniques, and representative types. The results were as follows. First, for repetition patterns of motifs, there were 219 simple repetition patterns in Seoul, and 289 in Kwang-ju, and 46 compound repetition patterns in Seoul, and 53 in Kwang-ju. The ratio of simple repetition pattern was higher than that of compound repetition pattern in both cities. Second, for motif types, floral, animal, letter, and graphic motifs were used far more frequently than any other motif types. Third, for representative techniques, embroidery was far more frequently used than any other representative techniques. Metallic crafts, chil-bo and paper techniques were also favored. Fourth, for representative types, realistic types were more common than abstract types.

• Journal of the Korean Society of Costume
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• v.4
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• pp.25-37
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• 1981

Art Nouveau style refers to the movement of art which was started in France and Belgium in the last decade of the 19th and the early years of the 20th century. The distinguishing characteristics of Art Nouveau style are the sensous sinuosity of its line, nervously undulating, curving over itself, rhythmical, flowing in endless patterns, which are inspired by animals and plants, specially by flowers, leaves, long stalks. The Art Nouveau style includes also the extreme simplicity of form, and asymmetric design. This new trend of art movement spread into architecture, furniture, wall papers, graphic design, accessories and textiles. In this paper, I tried to find out whether or not the Art Nouveau style had an effect on clothing. Because I believe clothing, like architecture, painting, and sculpture, is an Art form that derives from a particular set of cultural circumstances and reflects the needs and aspirations of the society for which it is created. Fashions in clothing over the last five thousand years have mirrorred the art form as well as the spirit. The result of this study shows that the Art Nouveau style made a lasting contribution to the modernism of clothing as well as architecture and interior design at the end of 19th century and the early years of the 20th century. The modernism of clothing appeared in the straight silhouette, asymmetric design, simple and light trimming, embroidery with Art Nouveau pattern, and stylized flower design in textile. Art Nouveau made a great contribution toward the modern clothing to have its liveliness and its harmonious relationship between clothing design and the use of materials.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.41-53
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• 2009

This study analyzed expression types of dot patterns and derived out inherent characteristics to provide fundamental resources for advancement of high value added creative designs. As a result of the study, Firstly, the circular motive was used to form silhouettes or as a symbol of a decoration. Secondly, a simple form and color dot pattern was used to create one side, or a circular shaped accessory was used to be recognized as a construction line or a decoration line. Thirdly, textile printing is mainly used but handicraft and decorative images were used to add vitality through piece technique, embroidery, collage, cut-out, patch work, etc. Fourthly, different circular motives were integrated, partitioned and duplicated for abstract geometrical images. Fifthly, variations were added by mixing different dot patterns that are arranged regularly and irregularly in different sizes and gaps creating compounded designs with handicraft touches, different angles or on top of each other. Sixthly, hybrid images were created with rearrangement of dot patterns and by adding floral shapes, stripes or other abstract and geometrical shapes. Such various and creative attempts construct new formative beauty in fashion design and I believe that it can establish the development of unique images that satisfies the taste of today's consumers.