• 복식
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• 제51권3호
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• pp.155-170
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• 2001

This study is about investigation of the historical value of Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) and examination of the costumes of the Envoys from the Three Kingdoms drawn in the paintings above. Wanghoido(王會圖) is presumed to be painted around early 7th century. This is a colored picture on silk on which twenty-six Envoys from twenty-four Kingdoms are painted. Bungekipjodo(蕃客入朝圖) is presumed to be painted in the early 10th century. This is drawn on paper with only black brush line, no color. There are thirty-five Envoys from thirty-one Kingdoms in the painting. Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) are the important materials which are useful to understand the original Liangjlkgongdo(梁職貢圖). From the records about interchange of the Envoys in the early 6th century, the characters and costumes painted in Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖), the copy of the original Liangjikgongdo(梁職貢圖), get the reality. The Envoys from Koguryo(高句麗), Paekche(百濟), and Shilla(新羅) painted in the two paintings above are all wearing Jangyu or Yu(장유 or 유; an upper garment), Go(袴:trousers), Kwanmo(冠帽:headdress), Dae(帶뿔:belt), and Hwa(靴:shoes). But they differ in some aspects. For example, the shape of the Kwanmo(冠帽), hair style and patterns on the costumes, etc.

• 복식
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• 제50권
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• 복식
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• 제60권7호
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• pp.74-87
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• 2010

Jeokgwan(翟冠, crown decorated with pheasant motifs) is a queen's ceremonial headdress during the early Joseon dynasty. It originated from Bong-gwan(鳳冠, crown decorated with phoenix motifs) worn by the Chinese empress. Bong-gwan(鳳冠) was originally various types of hairpins worn with the topknot hair style, such as Bongchae(鳳釵) Hwasu(花樹) Bakbin(博鬢), but during the Sung dynasty(宋, 960-1279) these ornamental hairpins were combined with the crown worn by the empress. Bong-gwan(鳳冠) worn during the Ming dynasty(明, 1368-1644) varied according to the wearer's social status and it was worn both by the empress and other court ladies. Jeokgwan(翟冠), one type of Bong-gwan(鳳冠) worn by the queens and princesses of Ming dynasty, was given to those of the Joseon dynasty as a gift until the early 17th century. According to the portraits and remains of China, when women wore the Jeokgwan(翟冠), they were supposed to place the crown onto the hair, and then, fix the crown to the hair by putting on gorgeous hairpins. The lower edge of the crown was wrapped around with Gu-gwon(口圈), which was decorated with kingfisher's feathers. There are several flowery decorations on Gu-gwon(口圈), and this style is similar to Daeyobanja(大腰斑子), a queen's ceremonial hairband during the late Joseon dynasty.

• 패션비즈니스
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• 제14권1호
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• pp.106-115
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• 2010

This study's purpose is to, first survey the traditional children clothing, clothing which doesn't get studied mostly. Second, to choose the factor that can modernize. Third, to design the present one-piece dress. Fourth, to gather an understanding about traditional children clothing and make a chance for children to wear the clothing that has a traditional factor. Traditional children clothes have a same shape with adults' clothes they use five primary color and use a pattern of a symbolic meaning which means healthy and long life. For ordinary wears there are Chimajogori and Bajijogori and for ceremonial dresses they wore Durumagi, Sagyusam which are Po and Dangui and headdress was added. The shape was considered by the children growth condition so the Gorum got longer. The dragon, cicadas, butterfly, phoenix and lots of flower pattern was used by the difference with the class. 5 one-piece design adapted Jogori, skirt, Dangui, Sagyusam, Magoja and used the traditional fabric by mixing the five primary color and the five secondary color was used to make traditional color. This study expects for a chance of children to wear traditional Hanbok or Hanbok-adapted clothes.

• 한국의류학회지
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• 제2권1호
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• pp.177-183
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• 1978

Byul-Gam is a low-ranking official who takes charge of sundry services in Yi-Dynasty court, and escorts his king when he make a honored going. Uniforms of Byul-Gam are noted for their gaiety. This study aims at inquiring into uniforms of Byul-Gam through historical records. The resultant findings are as follows: 1) Uniforms of Byul-Gam are divided into full dress and ordinary clothes. 2) The full dress has two kinds of style. One is Dan-Ryung, a kind of robe, clad together with Gun as a headdress. This robe is blue, Gun for king's Byul-Gam violet, and Gun for the Crown Prince's Byul-Gam blue. The other is a combination of yellow Cho-Rip and red Chup-Ri. This is a military uniform. 3) Ordinary dresses for Byul-Gam are orange Cho-Rip and red Jik-Ryung. Underwear in this case is Hyup-Joo-Um and Chup-Ri. Hyup-Joo-Um is a kind of robe. Inside it Korean style of jacket and slacks are usually clad. 4) As time passed, the uniform of Byul-Gam had been changed from Cheong-Dan-Ryung to Hong-Dan-Ryung, and Jik-Ryung had been shifted to a full dress. 5) Only five remains of Jik-Ryung for Byul-Gam have been handed down to us. The analysis of those indicate that they gradually became similar to Duru-Magi, a kind of Korean robe. This fact is common in the other transfiguring process of dresses of robe kind.

• 복식
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• 제59권10호
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• pp.124-136
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• 2009

This Study is on the Punggongyubodoryake. Punggongyubodoryak was the records and pictures written by Ohgyeongmun(吳景文, Painter) and Gangbonpungeon(岡本豊彦, a Japanese painter, 1773~1745). in 1832. Those records and pictures were about the gifts which Korea's King(宣祖, 1567-1608) sent to Doyotomi Hideyosi(豊臣秀吉, Pungsinsugil) in 1590. Most of the gifts were of the Korean costume, which meant that Korea recognized Doyotomi Hideyosi as the new general of Japan, Tokugawa Shogunate(幕府將軍). The pictures of every Clothing in punggongyubodoryake described forms of every cloth and delineated ornamental patterns and sizes of clothing as closely as actual, they were clothes of the Middle period of Chosun. the author of the study inferred that it would be one of the impotent materials in the history of the Korean traditional costume. Among the clothes, there were several danryeongs(단령, ceremonial coat), okgwan (玉冠 woman headdress with) and paeok(佩玉, pendents with jade stings) and choongdan(中單 ceremonial undercoat) and Sang(裳, ceremonial Skirts for man), gyeontongsuseulran (肩通袖膝襕, chinese coat) was recorded in punggongyubodoryake. they were not a set of clothes for ceremonial costume but a mixture of men's and women's costume, of korean and abroad styles. the author inferred that this phenomenon was actually a good proof that the gifts were sent to Hideyosi only as courtesy, which meant for downgrading the receiver.

• 패션비즈니스
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• 제24권2호
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• pp.119-135
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• 2020

The purpose of this thesis was to design and develop restaurant uniforms for Yeosu and Suncheon-City using local cultural resources by investigating the present situation of restaurant uniforms. The study was conducted through literature review and practical research on uniform designs. The practical research included investigating and analyzing the recent uniform designs of 60 spots in both cities and the preference of local cultural resources, finally suggesting eight restaurant uniform designs and four original samples. It was found that most workers in both cities wore shirts and pants or aprons as uniforms and also that the restaurant uniforms had many problems, such as poor designs, functionality, and the lack of local characteristics. According to these results, a design concept called 'Colorful Night Sea' was built for Yeosu using a design motive of a Yeosu Expo symbol, a Big-O Show shape, and Dolsan Gat flowers. For Suncheon-city, a design concept called 'A Rural Landscape' was built using a design motive of Nagan Eupseong and a field of reeds in Suncheon Bay. The restaurant uniform items included a top (shirt or blouse), pants, apron, and headdress in both cities. This study is meaningful as it helped improve the local image and economic situation, by proposing distinct uniforms designed by using local cultural resources.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• 한국의상디자인학회지
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• 제20권1호
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• pp.109-124
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• 2018

This study focused on the accessory of clothes of minority groups in Yunnan province to further the research about specific accessories' development in the future. Among the minorities in Yunnan, this study centralized characteristics of ornaments, hats and belts among five minority groups such as the Bai, Zhuang, Hani, Dai, and the Zang as representatives to study in detail because these five ethnicities have a relatively long history and plentiful information. The results are as follows: First, exaggeration means large gorgeous patterns that attract attention. Generally, there are many natural resources that can be used in places where these minority groups live such as gems, gold, silver shells and animals' horns, bone, teeth and the like. Headdress includes combs, loops, hairpins and other similar articles. Second, nature is a very fundamental part that people rely on for existence and development. The production and living that people need in life all depend on nature. The design of accessories is made from animal forms and patterns of clothes are presented through embroidery and wax printing. Designers always tried to add natural elements to their works. Third, symbolism consists of two aspects: One is the people's imagination, which related to actual materials, and the other is the product of imagination that provides better conditions to inspire people when they design. In China, most minority groups believe in Buddhism. The symbols in the clothing show their devout faith. Even the method of wear has many special implications like the use of accessories and length of clothing. The pattern of dragons and use of golden, red and other colors all have a proper symbolic significance in modern designs.

• 한국의류산업학회지
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• 제15권6호
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• pp.886-898
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• 2013

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae's, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.