• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.125-136
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• 2018

This study classified and analyzed the assignments for the Hanbok skill contests between 1998 and 2017 so that the Korean hanbok can be properly passed down. this study proposes a variety of useful values for the Hanbok culture industry by providing basic data on various Hanbok making techniques to the Hanbok artisan. The results of the analysis of 39 assignments for the Hanbok skill contest are as follows. Firstly, The 20 assignments presented in the Local Skills Competitions consisted of 13 tasks (65%) in formal wear and 7 tasks (35%) in casual wear. Formal wear is mainly comprised of men's and children's wear (85.7%). There are Pungcha Baji, Sagusam, Kkachi Durumagi, Jeonbok & Bokgeon, Durumagi, and others on the formal wear of men'schildren's wear. In casual wear, 66.7% of women's wear such as scarves, skirts, jeogori, Hwejang Jeogori & chima were on the list of assignments. Secondly, All of the 19 assignments presented in the National Skills Competitions were in adult suits. Thirteen tasks (68.4%) were in formal wear and 6 tasks (31.6%) were in casual wear. Nine out of the 13 formal wear tasks (69.2%) were men's clothes. In 6 assignments of the casual wear, men's and women's clothes were presented three times each. Formal wear that had many assignments was the men's Chulik, which was presented three times in 2006, 2008 and 2016. Thirdly, Eighteen (90%) of the 20 assignments presented at the Local Skills Competitions were for lined clothes, and the remaining 2 (10%) were for unlined clothes. Eleven tasks (57.9%) out of the 19 assignments presented in the National Skills Competitions were for lined clothes, and 8 tasks (42.1%) were for unlined clothes.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.61-77
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• 2002

The purpose of this study is to investigate difference and likeness on the form in women's Hanbok between the later Chosun Dynasty and modern times based on Belong's observing system for 'Apparel-Body Construct'. Belong's framework is composed 5 pairs of contrast word -'Closed or Open', 'Whole or Par', 'Planar Separation or Planar integration'. 'Flat or Rounded', and 'Determinate or Indeterminate'. Major findings of this study are as follows. First, the form of women's Hanbok in later Chosun Dynasty is 'Variably Closed', 'Part' and 'Rounded', whereas that in modern is 'Open', 'Whole' and 'Flat' Women's Hanbok of modern is lesser convex, and more open than that of later Chosun Dynasty according to increasing use of transparent textiles. Moreover, in comparison with old style, that of modern has the tendency of perceiving primarily whole feature by organic linkage of parts. Because of loose fit of Jeogori and rigid DongJong etc, characteristic of 'Plat' strengthened in modern Hanbok. Secondly, women's Hanbok in the later Chosun Dynasty and modern has common properties of 'Planar Seperation' and 'Determinate'. Women's Hanbok belongs to 'Planar Seperation', because the effect cognized to figure and ground. can be found between small parts and whole of Jegori, or can be found between the head and face. Jeuori and waist band, and Chima and under ware. Further more. it can be classified into 'Determinate'. because it use textiles which have no pattern un it or which show a subtle surface effect by texture changing.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.100-117
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• 2010

This thesis has three main purposes: first, will show kinds, patterns, types, expression techniques of modern korean women's trimmings by every ten years. Second, it is to trace the effect of each decade on women's Hanbok trimming designs. Third, it will point out factors. that caused the change of modern Korean women's Hanbok trimming design patterns. Henceforth, there comes the result of the research and analysis. Trimming design patterns of modern women's Hanbok can be divided into three categories temporally: The first period of from 1910s to the first half of 1950s saw that design patterns did not changed much from traditional ones. It is because there were many catastrophes such as the invasion of Japanese Empire and Korean War. The compound design had expressed people's wish to earn many sons and babies at the end of Joseon Dynasty. But it turned to wishing luck for individuals affected by individualism and liberalism imported from the west. Realistic designs are the most frequently used and the least lines made up patterns. The second period of from the latter half of 1950s to 1970s saw that women wore their Jeogories and Chimas as suits. Screen printing technique enabled for various design patterns to come out. And the development of textile industry introduced various expression techniques such as making lace, meshing, flocking, burn-out etc cetera. The third period of 1980s saw that Hanbok became a kind of luxurious clothe as people's living standard rose. Hanbok again came into the spotlight, Hanbok designers came forward and their individualities are respected. The characteristic expression technique of grey-dying and geometric design patterns are more frequently used for the simple and modern beauty.

• Journal of the Korean Society of Costume
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• v.14
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.1-14
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• 2015

This study mainly analyzes that designing patterns of an adult women Jeogori that takes advantage of patterns from each textbooks and complements the disadvantages based on the analysis of data from the dress evaluation and comparison of materials. The modification of a size specification is needed for the standard body as an adjust of the length of Jogori between front and back, mediation for bust width between front and back, a movement for the based line of Sup and Godae. As a result, the suitable pattern according to the standard somatotype is as below. Jeogori Length of front is determined by the length of back which was measured from side neck point to bust point plus three centimeters, and give three and half centimeters more in front. This three and half centimeters is for the curved in front of your body due to the chest. Bust width of front and back have to show the differences of human body. Bust width of front is calculated as bust girth into quarters and add two centimeters. Bust width of back gives one centimeter behind the curve from the center line in order to reduce the floating phenomenon. So, the amount of center back line dart is one centimeter. Arm hole girth measures as dividing bust girth into four. Also, Goedae width has two methods to measure. First, divide bust girth into ten equal parts and subtract 0.5 centimeters from it. Second, measure neck girth and divide it by four. Sleeve length is equal to Hwajang minus bust width of front. Hand wrist calculates in using bust girth. Make bust girth into quarters and multiply three fifths. Side line measures as deducting from Jeogori length of back to Arm hole girth and multiply two thirds.

• Journal of the Korea Society of Computer and Information
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• v.25 no.11
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• pp.167-178
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• 2020

This study attempted to find out the difference in the patterns of jeogori between commercially available Shinhanbok brands by comparing and analyzing the patterns of the changing Shinhanbok jeogori in consideration of material characteristics, fit, and fastening. After purchasing and disassembling 6 products, analysis was conducted with the disassembly pattern. As a result of analyzing the shape of the jeogori, the 1st, 3rd and 6th brands showed no darts. In the case of the 5th brand, the three-dimensional effect of the human body was expressed with a princess line. As a result of the appearance evaluation, the 5 brands were evaluated as the highest in most items except for the space of the front width and the group wrinkles of back sleeve armhole, and the appearance was analyzed to be the best. As a result of evaluating the clothing pressure, it was analyzed that the chest circumference of the first brand was smaller than that of the other brands, and the shoulder width and shoulder length were also shorter, and pulling occurred even after wearing. As the demand for new hanbok increases, it is believed that it is necessary to establish a size system for ready-made clothes.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.1-17
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• 2016

This study examined and analyzed the women's jeogoris in the Seoul Gwangjang Market and Busan Jin Market. They study explored the items to look into the current state of the Jeogori patterns, as well as investigate the flat pattern jeogoris, including its source and aspects of change. Korean women's body figure has become more westernized, and the purpose of this study is to investigate the effects of this change on the traditional jeogoris. We hope to gather valuable data, which can be used to propose a new direction for designing hanbok in the future. The study methods are as follows: First, the types of jeogori patterns were examined. Second, the current state of jeogori patterns in the Seoul Gwangjang market and Jin market in Busan were analyzed to look into how the patterns have transitioned. And lastly, the reason for the origination of the flat pattern jeogori and the type of changes will be examined. Current study results show that two pattern types are being used: the flat composition jeogori and the flat pattern jeogori. Surveys show that more than 90 percent of the jeogoris in the Seoul Gwangjang Market are of the flat composition pattern variety, while more than 90 percent of jeogoris in the Busan Jin Market are of the flat pattern variety. In 1998, western-style dress designers in Busan introduced the flat pattern jeogoris, which were used to get rid of the wrinkles caused by the extra space, into the market after the financial crisis period in Korea, as a way to revitalize the market. This new pattern was popular among tea aficionados and traditional Korean musicians. It was exposed to the public via different mediums, such as TV programs, magazines, and brochures. Busan was the first to be exposed, and then it spread to Seoul. It also seems that the reduction of production cost caused the increase of the flat pattern jeogori.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.15-30
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• 2017

The purpose of this study is to analyze the formative characteristics of Hanbok among youngsters based on SNS proof shots, identify new characteristics of Hanbok as part of play and travel rather than as formal Hanbok, and provide information for the Hanbok market. As research methodology, our search was carried out by using '#Hanbok Travel' as the search word in Instagram, where the Hanbok proof shot phenomenon is actively under way. A total of 535 posts from March 21, 2016 to April 1, 2016 were selected as objects of this study, excluding posts containing Hanbok with indiscernible shape, Korean traditional costume manufacturers' promotional posts, and repetitive posts by one person. First, the 535 posts were analyzed by season, region, number of people, and gender, and after men's data were excluded, 644 Hanboks were left for analysis. Their formative characteristics were analyzed by using SPSS 21.0. The results showed that the formative characteristics of Hanbok shown in SNS proof shots included diversification of length in jeogori(Korean traditional jacket), skirt, and sleeve, use of pragmatic material and achromatic color, and reduced use of decorative technique. Hanboks shown in the Hanbok proof shots should be considered as significant data because each shots show clothes selected and worn directly by user's side, unlike the existing studies centering on Hanbok designers' works.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.151-165
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• 2020

In this study, the pattern of texture was developed by applying the pattern shown in the Amita Yeoraebul and the Avalokitesvara with symbolism suitable for children's clothing. In addition, the design and the manufacturing of a children's wearable Hanbok were attempted, and the results are as follows: Amitha Yeoraebul is a Buddha who oversees paradise in Buddhism, and Avalokitesvara controls both paradise and the real world and provides mercy. Applying the various patterns in the Buddhist paintings, four daily hanboks for children were produced using patterns featuring symbolic the meanings of large round original patterns chrysanthemums, turtles, and lotus patterns. The lotus symbol represents love, nobility, and wealth, while the turtle symbol represents longevity, the chrysanthemum pattern symbolizes auspiciousness, and the large round original pattern means a constant continuation. To maintain the traditional hanbok form but allow convenient wear it in daily life, it is made in the jeogori + shorts, vest + long pants, and one-piece + jacket style. Currently, the daily dress of Hanbok and the modernization of traditional Korean clothes are being promoted. At this point, the study developed Hanbok fashion products that contain symbolic stories suitable for children are trying to maintain the image of traditional culture as much as possible.