• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.117-119
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• 2004

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.19-20
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• 2005

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.41-57
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• 2010

Yunnan, where twenty-six minor ethnics live, is located in Southwest part of China. They have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural and cultural surroundings. So, Yunnan is known as a living folk museum. It's worth examining how climate and circumstances change has affected certain differences of dress shape in same ethnic. Research into costumes of minor ethnics can contribute to the study of origin of the trousers, as this group of people have well succeeded the basic form of trousers through their cultural history and everyday life. This study, at first, investigates geographical surroundings of each minor ethnic group, and figures out the style of all trousers by measuring the each size, then compares design color pattern and fabric. The origin of trousers examined by formative characteristics has been classified and comparatively studied. The study materials are twenty-three trousers selected from in Yunnan Folk Museum as well as other relevant literature records. This study suggests that one can examine the type of human culture through the forms of costume which reflects folk custom geography economy etc. This, in turn, can be used as a basic information for other studies, and in particular, for the study of origin and structure of the trousers.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.81-85
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• 2004

Yunnan(云南) province is located in southwest of China in which has four seasons and many historical remains. Twenty-six minor ethnics live in the Yunnan province which is known as a living folk museum. This is because they have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural/cultural surroundings.(omitted)

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.137-150
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• 2009

Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.11-20
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• 1998

The purpose of this study was to investigate the clothing folk beliefs of Korea and to trace thought on rightness and wrongness implied in them. Data were collected from 1980's and selections were mae from them for the analysis of this research. Results and findings of this study can be summarized as follows: Clothing folk beliefs related to thought on rightness and wrongness appeared in various ranges and ways. They included clothing behaviors, attitudes, clothing habits, grooming, as well as clothing related activities such as sewing, laundary, ironing and pressing activities so on. They also included time, place, and occasions. It was found that behaviors, attitude, and habits against social norms and cultural values on social orders were regarded as not right., Those behaviors, attitudes, and habits were discouraged with clothing folk beliefs. Clothing folk beliefs were used as a means of educating and disciplining tool using or appealing human psychology. Also it was found that Korean clothing folk beliefs were functioned as means of transmitting social norms and cultural values from generation to generation. Thus, clothing folk beliefs can be regarded as one of the important cultural elements of Korea as well as means of socialization tool that contains so man information about Koreans.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.5
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• pp.739-748
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• 1994

These days the Korean costume becomes the formal dress to be worn on particular occasions. The Westernization of life style, inculding dress, has made the costume of wearing traditional dress disappear from Korean's everyday life. This study is launched to investigate the precious textiles and materials of the past before they vanish; this study deals with the materials of folk costume in the early 20th century, preceding Westernization. The research method adopted in the study was interviews of fifth- five elderly persons living around the Mt. Kumo area in Gyungbuk province. The result was that costume culture in that area was poor because people living in the area were economically less well off due to meager agricultural products. There was no variety in the style of costumes to be worn for various occasions. It was also nothworthy that because of no diversification in naming, only one representative word was used to name several types of costumes. On the other hand, it was discovered that the people in the Mt. Kumo area had religious aspirations stemming from their folk beliefs concerning costumes. They also had an attitude of saving money despite poor economic conditions.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.17-18
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• 2005

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.26-40
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• 2010

The purpose of this study is the Tibetan folk costumes'characteristics and change of design in stage. The subjects are the Tibetan costumes in the Spring Festival Gala of CCTV. The basic characteristics of Tibetan folk costumes are fat waist, long sleeves, overlap, and right ren. Tibetan costumes consist of Tibetan gowns, aprons, shirts, belts, Tibetan hats, headgear, ornaments, all of these compose the traditional image of the Tibetan people. Because of the long-term closed survival, the development of Tibetan costumes has no much vertical differences and changes. The costumes of Weizang(衛藏), Ali(阿里), Gongbu(工布), Kham(康巴), Amdo(安多) have different features which are divided according to different dialects. Study the changes of design Tibetan stage costumes from 25times, we can get that during the 1986~1992, people emphasis on the activities of dancers, styles are simple, just to grasp the characteristics of the Tibetan costumes. In the 1993~1999, the dancers put on the real-life Tibetan clothing on stages. By the 2000s to now, Tibetan stage costumes have much more changes in forms and colors which are more complete and complex. The types of Tibetan costumes include Tibetan all clothing, they all express the changed forms and colors without exception. So in this period are artistic Tibetan folk costumes.

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.285-288
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• 2004