• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.1 s.149
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• pp.106-114
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• 2006

This research aims to identify the recent changes in construction, design, and technical vocabularies between North and South Korea of the Korean woman's top(Jeogori), which is a main part of her traditional costume(Hanbok). After Korea War, Korea was divided into two countries(the division), and there was little communication between the two until 1972(the interexchange). Thus, this study will compare two time periods: 1953-1972 and 1972 to recent times. Hanbok construction books published in both Koreas are evaluated here to see what similarities and differences existed during these two periods. Women in the North continued to wear their traditional costume(renamed the Chosunot in the North) as daily clothing, but women in the South began saving the Hanbok only for parties and ceremonies. As the North Korean government controlled its peoples dress and continued to make changes, the North kept developing new technical vocabularies, but the South continued to use the same terms fur the Hanbok. From the end of the 1990s, the Chosunot had become more and more similar to the Hanbok in colors, shapes, and materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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• pp.331-348
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• 2022

This study explores the value structure of experiential rental Hanbok companies using the means-end chain theory. For this, soft laddering was conducted for nine experiential rental Hanbok companies located in Jeonju Hanok Village. Next, the value structure was created. The results are as follows. First, the elicited values are in the following order: "creation of wealth," "promotion of Korean culture," "aesthetic value," "self-actualization," "community development," and "transmission of tradition." Second, most attributes are connected to "creation of wealth." Third, "promotion of Korean culture" and "community development" are similar to Holden's instrumental values. Fourth, some attributes linked to "aesthetic value" express what the experiential rental Hanbok companies consider to be beautiful. Fifth, the companies pursue "company satisfaction" through "consumer satisfaction" and "company differentiation," which leads to "self-actualization" and "aesthetic value." Sixth, it seems that "transmission of tradition" can be achieved through "expertise/expert training," indicating that some companies think expertise is necessary for the transmission of Hanbok and do it. This study is significant because it is a new attempt to understand the core values of experiential rental Hanbok companies and provides insights into their growth.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1453-1464
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• 2007

The purpose of this study is to examine the hand of spring/fall fabrics for 'Saenghwal Hanbok' on subjective hand, objective hand and the preference. In this study, 28 varieties of spring/fall fabrics such as cotton fabrics, synthetic fabrics, blended fabrics and a silk fabric for 'Saenghwal Hanbok' are used. To evaluate the subjective hand of fabrics, the holistic touch and preferences, 33 seven ranks' segmentic differential scale questions are developed with adjective pairs and are gathered by surveying experts on clothes. The mechanical properties, HV and THV of them are measured and calculated by KES-FB system. Through subjective hand, items could be classified into six hand expressions: 'bulky/extensibility', 'stiffness', 'feeling of weight', 'surface property', 'drapability' and 'moisture property'. Through mechanical properties, the results indicated that the character of cotton fabrics are slight flexible, tough, rough, uneven, a bit heavy, thick and low resilience on tensile and compression, and then those of synthetic fabrics, blended fabrics and a silk fabric are thin and light, smooth, flat and bulkless. In correlation on subjective evaluations and the preference for 'Saenghwal Hanbok', cotton fabrics mainly depend on 'surface property' and 'moisture property' and then synthetic fabrics, blended fabrics and a silk depend on 'bulky/extensibility' and 'surface property' In correlation on objective hand and the preference for 'Saenghwal Hanbok'. people aren't satisfied with low resilience. high stiffness and low drape.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.149-162
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• 2019

The purpose of this study is to suggest various directions of living hanbok and proposed the living hanbok design that integrated the tradition and the contemporary, as well as the past and present with denim material that represents the youth cultureby while using the motif of Korean Jogakbo. For the research method, the data on living hanbok, denim, and Jogakbo were surveyed to develop and produce a living hanbok design. The development of a living hanbok design emphasized the meaning of longing for an accumulation of good fortune, by using the concept of 'wishing for fortune' including the symbolic images of denim and Jogakbo. The production results of this study are as follows. First, the Jogakbo motif consisted of patterns yearning for harmony, great fortune, longevity, and many children, and the living hanbok design integrated with the denim material symbolized the convergence of the past and present and the harmony of eastern and western cultures. The study could verify that the living hanbok design was recreated in a contemporary sense to be used everyday by expressing contemporary senses in a traditional image. Second, leftover fabric pieces and recycled materials that can be abandoned by the material market were used for denim. This study could also develop the living hanbok design as a sustainable design through upcycling, an important social trend, puting an emphasis on carrying out socio-ethical responsibilities. Third, denim Jogakbo work, which is connected by small pieces of denim material, used to be a difficult and labor intensive handicraft, but it could be proposed as a new high value-added fashion and generate contemporary living hanbok with a new image.

• Human Ecology Research
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• v.60 no.2
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• pp.273-287
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• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.113-126
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• 2013

The purpose of this study is to analyze the current use of mannequins that are designed to display Hanbok and put forward suggestions for improvement. In order to carry out the study, an analysis on the mannequins that are currently in the market was conducted along with a survey with professionals who are in charge of the display. The significance of the study is that it has gathered the opinions of professionals who are currently participating in the displays of Hanbok to lay the foundation for improvements. As Hanbok is a flat-pattern costume unlike the Western ones, the most prominent way to display is to lay them on the floor or hang them on the wall. Nevertheless, the mannequin displays are needed to show the beauty of Hanbok as the silhouette can only be completed when it is put on a body. A new type of mannequins that can portray the distinctive features of Korean beauty more effectively need to be developed. Although the museum and enterprise slightly differ in their preferences and requirements for the mannequins, both agree on the following criteria; the shape should be adjusted: the protruding breasts of the mannequin are not suitable for Hanbok, the body should be disassembled: all parts of the body should be separable and it should be flexible at the joints so that it can produce various poses, the face should represent the "koreaness" and the material should be soft. Based on these findings, we put forth the suggestion that a more suitable mannequin should be developed to portray the beauty of Hanbok.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.4
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• pp.506-517
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• 2014

A bag is a daily article carried in one's hand or on one's shoulder for things as well as a fashion item. The functions of a bag were derived to include portability, decorativeness, brand identity, message communicability and cultural identity. Souvenir bags sold at a gallery or a museum are goods to maximize the cultural identity of a bag based on national emblems, exhibitions and characters as design motifs. Based on the typological analysis of souvenir bags showing cultural identity, this study developed a design with a motif of Hanbok from Korean traditional cultural content to develop a tote bag design that reveals Korean cultural identity. Under a traditional Hanbok motif colors, sizes and patterns were reinterpreted in a modern perspective. For such a research purpose, 8 kinds of tote bags were developed. A tote bag design that reflects Korean cultural identity will contribute to raising the potential to develop cultural goods that are modern, popular and differentiated in the global market.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.4
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• pp.593-608
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• 2023

This study attempted to classify the types of perceptions of the new Hanbok, focusing on female college students in their 20s, and to analyze the characteristics of each type. This study was conducted with the Q methodology and analyzed with the QUANL pc program. The perceptions of the new Hanbok among female college students in their 20s were classified into four types: Type 1: modern/practical, Type 2: convenient/practical, Type 3: temporary/accessible, and Type 4: convenient/traditional. Type 1 emphasized the selection of Western clothing fabric, matching zipper/buttons, and achromatic colors. Type 2 highlighted a design that can be worn as daily clothing by combining materials that are convenient for laundering. Type 3 stressed the operation of new Hanbok rental stores so that it is easy to access and accept new Hanboks in old palaces and Hanok villages. Type 4 required the development of a design that reflects the elements of the traditional Hanbok and is convenient for activity and laundering.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.4
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• pp.615-631
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• 2024

In the fashion industry, cultural borrowing-often championed for promoting diversity-is notably prevalent in the editorials of fashion magazines. However, when scrutinized through a postcolonial lens, this practice reveals a tendency to reinforce Western power structures. This study focuses on instances of orientalism and cultural appropriation within editorials featuring Hanbok in domestic licensed fashion magazines, examining the implications of such instances. The findings reveal three key aspects: first, the creation of a sensual female image intertwining sexual fantasies about Asian women with enigmatic Hanbok aesthetics; second, the utilization of traditional culture, including Hanbok, in luxury fashion's premiumization strategies, thereby perpetuating stereotypical images through self-exoticization; and third, a decontextualization trend that presents traditional cultures and Hanbok from diverse origins together, irrespective of context. This research contributes to the literature by addressing postcolonialism and cultural appropriation, specifically offering insights into the media's role in the modernization of traditional culture in the long term.