• Journal of the Korean Home Economics Association
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• v.48 no.2
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• pp.75-83
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• 2010

Hanbok Chima, a Korean skirt, with large-volume should have an archetypal drawing model for appropriate cultural and historical accuracy. In order to develop new Hanbok Chima archetypal drawings we drew a skirt by connecting height with a design structure adopted from Jeogori, a Korean jacket. As a result, an archetypal drawing was developed from which circumference of lower width of Chima, size of pleats in waist circumference, and length of Chima as well as a scheme of layering Chima and Jeogori can be obtained. In this drawing, width of Chima can increase or decrease naturally according to height. However, in case of same heights and different chest circumferences if 2.5cm of additional value is provided for every 5cm increase in chest circumference, Chima of any size can be made based on this drawing. In conclusion, given the demonstrated practicality of designing a Hanbok Chima with large-volume based on archetypal drawings, it is expected that the results of this study will provide useful scientific data for Korean costume designs.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.73-87
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• 2004

In the designing stage, the HANBOK CHIMA is created using a flat pattern with linear shapes. However, when worn, the skirt creates a fluid and organic silhouette. According to the wearing method(wrapping), HANBOK CHIMA can create various shapes and movements. In comparison to the general skirt, It is more effective in revealing the wearer's sense of beauty. The method of wrapping the skirt from the rear is a suitable way of wearing the garment in accord with the Korean ON-DOL(온돌) culture and it creates mystique eroticism. We can devide the silhouettes according to six different period of time. The silhouette of HANBOK CHIMA is affected by the following elements: length, width, pleats, textures and the usage of underwear. [1. Koguryo (5C∼6C) - The first Tent silhouette. 2. The South Dynasty Silla (7C∼8C) - The second Tent silhouette. 3. Kyoryo dynasty (l4C) - Cylinder silhouette. 4. The first Chosun dynasty (late 14C∼17C) - Bell silhouette and Cylinder silhouette. 5. The second Chosun dynasty (mid 18C∼mid 19C) - Bell silhouette and Barrel silhouette. 6. The third Chosun dynasty (late 19C∼the beginning of 20C) - Tent, Cylinder and Bell silhouette.]

• Human Ecology Research
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• v.56 no.2
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• pp.195-203
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• 2018

Online game digital hanbok has an aesthetic value in a digital culture and is useful for developing a digital hanbok design for online games as well as other industries. This thesis analyzes its attire and design composition elements to design a 3D digital hanbok by utilizing its formative characteristics. The literature review defines them as transmutability, virtuality, fictionality, reality and playfulness based on the characteristics of digital media, late digital generation and online games. We analyzed 471 images from 50 online games. Sonmaep was used for making 3D digital hanboks. Its attire was grouped into jogori pants, jogori chima, po and armor. Its design composition elements were classified as pleat, layering mu or hemline, mu sub gyeopmagi mitbadae, vent, git dongjung and decoration elements. The results feature 8 digital hanbok designs. Reality designs are replicas of jogori daegugo for men and po for women in the period of the Three States. Virtuality designs are slightly changed shapes of yoseoncheolrik for men and white jogori yellow chima for women in the Koryo Dynasty. Fictionality designs are casual fusion armors for men and women as a hyperbolic form. Playfulness designs are doll costumes for men and jogori chima for women as a kitsch and childish style. The concept of online game digital hanbok escapes from conceptual limitations of traditional hanboks. This result can be used for designing digital hanbok contents in various industrial parts.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.272-288
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• 2021

The purpose of this study is to classify the types of decoration techniques used in women's Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.110-123
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• 2013

The purpose of this study is to analyze the first birthday Hanboks on Internet shopping malls and to find the reason why the costume has various types. From April to May 2012, first birthday costumes were sold on 154 Internet shopping mall sites. On 48 of the shopping malls, traditional Hanboks were sold, on 33 of the shopping malls, fusion Hanboks were sold, and on 73 of the shopping malls, Western formal wear was sold. The percentage of the Hanboks and Western costumes for the first birthday was almost the same. Boys costumes in the traditional Hanbok consisted of 'Magoja, Joggi, Jeogori, and Baji" or 'Baeja, Jeogori, and Baji" with Jeonbok or Sagyusam. Boys' headgear consisted of Bokgun and Hogun. Girls' costumes in the traditional Hanbok consisted of 'Jeogori, Chima' or 'Dangui, Chima or Seuranchima'. Girls' headgear was Gulle, Jobawui, and Baessidaenggi. Boys' costumes in the fusion Hanbok consisted of 'Jeogori, Baji, and Wanggunmo' which is different from the traditional Hanbok in materials, colors, and parts of construction. Girls' costumes in the fusion Hanbok could be divided into 3 different types; a modified traditional skirt, Chima, 'Chima and Jeogori" with new materials and colors, and Western dress with traditional materials. The first birthday Hanboks on the Internet shopping malls are simple and convenient compared to the traditional ones. Furthermore, parts of the costumes are influenced by some popular historical dramas. One of the reasons why the costumes have changed is because the customers have few experiences about traditional Korean costumes and their interests have been affected by the modern media.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.53-66
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• 2012

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.97-110
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• 2003

This study was done to investigate the wearing experience, the taste and attitudes toward Korean Costume(Traditional and Saenghwal Hanbok). Data were collected by self-administered question from 307 elementary school children and 307 mother during 7, 2002. Conclusions are as follows : 1. Hanbok was worn mainly in the first birthday of children and 6∼7years old. But it was rarely worn in 4th∼6th grade of elementary school. Most of children had worn the Traditional Hanbok, about 30% had worn the Saenghwal Hanbok. 2. Childrens liked Saenghwal Hanbok more than Traditional Hanbok, girls liked Hanbok more than boys did. And 31.4% of boys disliked Hanbok, the main motives for dislike were concerned with the discomfort to move, the feel of cloth and becoming. Boys prefered the style of ´vest/ Jeokori/ Bajii´ in Traditional Hanbok, and ´half-sleeve Jeokori/ Baji´ in Saenghwal Hanbok. Girls prefered the style of ´Dangeui/ Chima´ in Traditional Hanbok, and ´One piece/ Jeokori´ in Saenghwal Hanbok. Childrens prefered analogous color scheme to contrasting color scheme. Boys prefered the blue groups, girls prefered the orange and red groups. 3. Childrens had more positive attitudes towards Saenghwal Hanbok than Traditional Hanbok. Mothers had positive attitudes towards both these types. And the attitudes toward Saenghwal Hanbok and Traditional Hanbok of childrens were more positive than mother´s. Therefore the following suggestions may be proposed for the development of Hanbok for children. 1. Hanbok is need to be designed considering activity, feeling and becomingness for teenagers. 2. Hanbok design must be kept seperated Traditional Hanbok and Saenghwal Hanbok. Traditional Hanbok is need to emphases tradition, Saenghwal Hanbok is need to apply a western style and have a practical use.

• International Journal of Human Ecology
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• v.7 no.1
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• pp.37-52
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• 2006

This study was designed to analyze the three-dimensional shapes of Hanbok Chima made with various fabrics and to clarify the relationship between fabric properties as well as the objective and subjective evaluations of the 3D shape. For 3D shape data, a dress form (9A2 (N; nude)) was scanned with eight Chima garments made with the same number of fabrics. The scanner used was a non-contact three-dimensional human body measuring system belonging to Bunka Women's University in Japan. Data concerning the objective evaluation of the 3D shape was obtained from the measurements of the vertical and horizontal sections: those for subjective evaluation were through the sensory test after exposure to photographs from a front and side view. Four fabric factors were extracted from fabric physical properties: softness, extension, thickness of threads, and weight of fabric. Such factors as expansion (volume), sag of rear train, shape of nodes were influential in explaining the 3D shape of Hanbok Chima. From the analysis of the 3D shape, it can be deduced that with the constituent fabric stiffer, lighter, and less stretchable, the more expanded the 3D shape appeared to be. Multiple regression results showed that vertical shape factors have a greater effect on the evaluation of the 3D shape. It also implies that dependent variables of this study such as the subjective evaluation and 3D shape can be derived from regression equations on independent variables as fabric property factors or 3D shape factors. These results can enable the manufacturers to predict the 3D shape of the garment as well as the human subjective assessment to improve the efficacy of production. The investigation method proposed in this study can also be applicable to other garment items.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.4
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• pp.657-675
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• 2020

This study suggests a direction for design development through an analysis of the experiential rental Hanbok design in Jeonju Hanok Village. As a research method, 268 outfit photographs of tourists wearing experiential rental Hanbok for women were collected as design analysis data from Jeonju Hanok Village. Frequency analysis was then performed by dividing into form, color, material·pattern, and detail. The controversy over the design of experiential rental Hanbok revolves around how and how much tradition is reflected. This is a very important part of the design analysis and development direction. If necessary, traditionality was discussed using the Hanbok style of the Joseon Dynasty as a standard. Development directions derived from the analysis are summarized as follows. First, avoid the distorted shape of skirts. Second, develop underwear for traditional silhouettes. Third, expand traditional colorations and avoid the excessive use of accent colors. Fourth, it is necessary to develop rental Hanbok materials with decorative features. Fifth, there is a need to design flat pattern construction for rental Hanbok that reflects a standardized production method and a changed aesthetics.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.763-770
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• 2002

The objective of the study was to investigate skin temperature responses of Hanbok when it was worn. Two healthy females(average 21 years, 155cm and 60kg were exposed to a climatic chamber(Room Temp. $21{\pm}1^{\circ}C,\;52{\pm}2%R.H.$, 0.15m/s). During the experiment, rectal temperature, skin temperature of 9 areas, clothing microclimate, subjective sensation were measured. Chima and Jogory to be made of silk nobang(SN) or Ramie were worn for summer. Polyester(P) Chima and Jogori(R) could be wort for spring and autumn. For winter, silk Chima, Jogori(S) and Durumagi(D) were commonly worn. Rectal temperature was high in order of naked(N), R, SN, P, S, D. However Mean skin temperature was reversely high in order of D, S, SN, R, P, naked. In naked, skin temperature was high in order of head, trunk upper extremity and lower extremity. But on wearing of Hanbok, it was the highest at the chest except head regardless of kinds of clothing ensembles. Skin temperature of upper arm was secondly highest on wearing the silk ensemble and the Durumagi ensemble, but skin temperature of buttock was secondly highest on wearing the silk nobang ensemble and the ramie ensemble. Skin temperature on wearing the silk ensemble was generally higher than those on other clothing ensembles. Local and mean skin temperatures on wearing the silk ensemble and the Durumagj ensemble were generally higher than on other clothing ensembles. Heat resistance of the fabric might have affected on the local skin temperature.