• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.1-16
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• 2003

The purpose of this study is to investigate the sensibility images of Korean Traditional Chumoni. The detailed methodology of this study is as follows. Selections of stimuli to analyse the sensibility images of Korean Traditional Chumoni were made up of 15 stimuli. The survey has been done for the 15 slide stimuli with semantic differential hi-polar scales which are consist of 23 couples of sensibility words. The subjects were 150 female students majoring in clothing and textile. 150 male students majoring in other department and 150 female students majoring in other department in the twenties between 2001. 3. 30 and 2001. 4. 4. The obtained data were analyzed by factor analysis, cluster analysis. ANOVA. The major finds were as follows. 1. To explain the hierarchy of the sensibility of Korean Traditional Chumoni, two image groups were classified, one is noble and characteristic image the other is splendid and intensive image. Finally it represented noble and splendid image. 2. As result of the factor analysis. 3 factors which are Attraction, Decorativeness, Gravity were found to be constructing factors for the sensibility images of Korean Traditional Chumoni. 3. By cluster analysis, 4 clusters were determined according to Korean Traditional Chumoni. Cluster 1 is splendid. multi-colored and realistic in patteren. Cluster 2 is consist of 'true chumonis' and one-colored. Cluster 3 is modal in pattern. Cluster 4 is simple without any decorations. As to the difference of image of Korean Traditional Chumoni, there were significant differences amang 3 factors by cluster Cluster 1 was found most attractive and grave. Cluster 2 was found most decorative. 4. As to the difference of image of Korean Traditional Chumoni, there were significant differences amang 3 factors by decoration. Gold foil was found most attractive and grave. Embroidery was found most decorative. 5. As to the difference of image of Korean traditional chumoni, there were differences in Decorativeness and Gravity by sex and there were differences in Attraction by major.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.55-62
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• 2004

Research into the ancient dyeing and weaving culture is of critical importance to the fact that they constitute an integral part of the Korean costume. Due to the absence of the originals reflecting ancient costume cultures, it is difficult to figure out what the dyeing and weaving culture was like in ancient times. Because of limited visual materials available from the wall paintings of ancient tombs, studies conducted so far concerning the costume culture for the Goguryeo have focused on visual elements such as shape, structure, and type. As a result, research into ancient Korean dyeing and weaving cultures hasn't been properly made. Thanks to the presence of both some dyeing fabric originals from Goguryeo's neighboring countries and some visual materials like the wall paintings of the Goguryeo, it may be possible to obtain some clues to the dyeing and weaving culture. The dotted Pattern costumes were selected such as Muyongchong, No. 1 Jangcheon Tomb, Gakjeochong, Samsilchong, Ssangyeongchong, Susanri Tomb. According to a book titled ‘Hanwon’, the Goguryeo people manufactured fabrics in such a way that resist-dyed spots produced elaborate patterns over the purple fabric. It can be safely said that such dot patterns were produced by means of dyeing rather than weaving, because identical patterns aren’t well produced by means of painting and embroidery. Considering Goguryeo’s natural features, the dot patterns mentioned in historical literatures are thought to have been produced using animal’s skin. However, there is highest possibility that the dot Patterns were Produced using tie-resist dyeing or wax-resist dyeing techniques. With respect to the dyeing and weaving culture for the Goguryeo, one must refer to neighboring countries’ dyeing and weaving environments, given that the Goguryeo had engaged substantial cultural exchanges with China.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.77-93
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• 2016

The purpose of this study is to analyze the stage costumes of Michael Jackson, and how it was reflected in contemporary fashion. The study reviewed fashion related articles, book, journals, and online fashion sites in order to look at the stage costumes used by Michael Jackson from 1979 to 2001 from 'Off the wall' to 'Invincible'. The study examined the 2001 S/S~2016 S/S seasons of the world's 4 major $pr{\hat{e}}t$-${\acute{a}}$-porte collections to identify cases that used at least two fashion factors of Michael Jackson's style. The study result is as follows: First, Michael Jackson wore black tuxedoes with bow ties, ankle-length pants, white socks, black loafers, arm bands and other various accessories. Second, many of Jackson's fashion traits, such as military style golden embroidery detail and emblems, Brandenburgs, and also appeared in many collections. Third, Jackson's glitter style included spangle and cubic accessories, which were used along with hologram and metallic materials. Accessories, such as cubic gloves and socks, and fedoras were worn with the costume. Lastly, his diverse style, which included fencing shirts, letterman jacket and magic suits, can be found in different forms in modern fashion. Michael Jackson was one of the trendsetters in popular fashion in the 1970s~1990s, and continuously inspires fashion designers in the 21st century. In this aspect, the Michael Jackson style is deemed highly significant in the fashion history.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.139-152
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• 2011

This research explores the idea of digilog for fashion; it would help to conclude the uncertain mixed-phenomena and words as a neologism and find a fundamental concept that would be a reference for a lot of uncertain new words that have been occurring even this year. Furthermore, this research is aimed at analyzing how digilog has been reflected on the contemporary fashion and directing the ways towards the future of fashion. The digilog fashion design is the expression of a combination of opposite extremes, that is to say the combination of a paradoxical mix and directly-opposed elements. The outward expression of fashion design with digilog can be classified into several ways. First of all, it tends to use the elements of paradoxical expression; for example, applying high-technology to express a primitive and natural material. The analog expresses unprocessed. Secondly, using high-tech machine to express the texture of handicraft or rough embroidery. Lastly, digital printing(DTP) is applied to enlarge the several or the whole parts of a natural object or sensitivity. As a result of the analysis, the inside view of the contemporary fashion with digilog delineate followings; it is the attitude that claims to go back to the past and accepts the combination of nature and high-technology to get calmness in the rapidly changing modern world. And it is the will to fly from the utterly exhausted reality through the recurrence of the past when there used to be a lot of energies and used to live in affluence.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.122-138
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• 2011

The present research aims to consider the real remains of 2 suits of Kasaya owned by the Hwaeom Temple(華嚴寺) based on research results about Kasaya in the meanwhile. The present research on 2 suits of remains which are Royal gifts given to monk soldiers in case of a national crisis of the Joseon Dynasty has a big meaning in examining characteristics of Kasaya and grasping characteristics and structure of the 17th century's Kasaya of the Joseon Dynasty through dense survey and analysis according to components. If examining characteristics of Kasaya, the Kasaya of the Great Monk Seo San(西山) is composed on the basis of an initial form of Sun and Moon Light Patch's generation and the Kasaya of the Great Monk Byeok Am(碧巖) has a form that is separately attached through production of embroidery patch as a process of being settled down. If examining what surrounds gold thread in the girth and expression of Sumeru and Chaeunmun(彩雲紋), the composition of a form similar to an insignia badge, so because this is a Royal gift, this can be estimated as being analyzed in a Buddhism aspect by devising a design from the insignia badge at the time, with a meaning like an official uniform given to a monk. Although the insignia badge is a square, it seems that the Sun and Moon Light Patch is made as a rectangular form corresponding to the structure of Kasaya. In addition, it is thought that what the Samjoko(三足烏) idea which is a symbol of the Sun based on Buddhism and Taoism is used together with Yijoko(二足烏) even in expression of the Sun and Moon Light Patch in the Joseon Dynasty which was a Confucian country has a relationship with what a bird was expressed in the insignia badge of winged animals.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.79-93
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• 2013

In the Korean literature, records of systematic gold thread manufacturing such as gold foil(金 箔匠), gold foil bonded with fabrics(付金匠), gold foil bonded with paper materials(金箋紙匠), refining gold(鍊金匠), cutting gold(裁金匠), and making gold thread(絲金匠) can be easily found. We can infer from these literatures that the Korean people used to make gold threads. However, is not existent the gold thread making technique. Thus, a research was done using 67 pieces of gold thread artifacts used in textiles craft of Korea, China and Japan. The purpose of this research was to identify the characteristics of the Korean gold thread by studying the artifacts' form classification, gold foil, glue and the base. First, gold thread is divided into flat gold thread and wrapped gold thread. Wrapped gold thread was made in more various methods such as with a paper on the flat gold thread, metal thread and wrapped gold thread with gold foil on top. Compared to the flat gold thread, wrapped gold thread uses a thread that has a thinner and wider. Through this analysis, even making of the base of the gold threads was different according to the type. Secondly, we looked into the characteristics of materials according to form structure of the gold thread. After analysis of experiment results, we could know that to attach Korean gold thread, glue and the mixture of materials such as Red soil(朱土) was also added. The kinds of the base of gold threads were identified as paper, leather and intestines. Among those materials, for paper, Korea's Dakji, China's Sangpiji(桑皮紙) and Jukji(竹紙) and Japan's Anpiji(雁皮紙) seemed to have all been used, so because of the difference among countries, we can prove that Korea has also produced gold thread. By looking at the research, the base of gold threads and making features hugely vary according to the area.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.147-160
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• 2013

Korean fashion designs became important items in Korea in the middle of the 1980s, and it has advanced into the world market in the early part of the 1990s. To achieve success in global fashion world, it is necessary to analyze Korean fashion design thoroughly and prepare strategies to develop designs with mainstream acceptance in the global fashion world. The purpose of this study is to analyze the aesthetic characteristics and Korean beauties of Korean fashion designs. Fashion photos of Korean fashion designs from 2006 S/S to 2012 F/W were analyzed. 357 designs from 608 designs of 4 representative Korean designers were examined and design characteristics, expression styles were studied. The major conclusions of the study are as follows : 1. H Line, slim, fitted silhouette and loose look were applied. 2. 5 major traditional colors, red, blue, yellow, white and black colors were used. Brown color, neutral color, golden color and beige color of the textile material's original color were used. Traditional textile materials like ramie fabric, satin and cotton, wool and metallic fabric were used. 3. Patterns of flower, traditional pattern and Korean letters were applied. Embroidery, patchwork and mother-of-pearl were decorated. 4. The three types of beauty were natural beauty, moderate beauty and decorative beauty. The types that were analyzed were realistic expression type, moderate expression type, image expression type and mixed expression type. To be accepted in global fashion world, Korean traditional design elements should be modified, broken down and reorganized so that Korean fashion design can be recreated.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.51-61
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• 2003

1. This study is to veri(y the characteristics of gauze fabrics focused on the them found at Sukga Pagoda. The remains researched are those of the Unified Shilla Dynasty around 8∼10 century. The found textile remains seem to be used as rugs or to be used for filling in spaces, wrapping silver reliquaries, equipments preserving relics of the Buddha, a gold-plated outermost reliquary, and so on. Since other remains found inside the Sukga Pagoda are national treasures, the textile remains can be considered as the fabrics of the highest quality. 2. Seven gauze fabrics, four non-designed gauzes and three designed gauzes, are found. They are all four-end complex gauze, weaved with the complex gauze technique. Two designed gauzes out of three designed gauzes are weaved in pattern by the clamp-resist dyeing technique and one is weaved in pattern by giving some changes in weaving. 3. In addition to the characteristics peculiar to gauze fabrics, such as thinness, fineness, and sparseness, another characteristic is found. That is, the difference in thickness between wefts and warps is over two times on the average in all of the seven gauze fabrics. Some of the gauze fabrics look like laces because of the huge difference in their thickness. 4. This research verified that with their transparency, are such materials that their beauty can easily be realized without adding various colors or patterns on the fabric by painting, embroidery, stitching old foil, or compound weaving technique.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.