• 복식
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• 제35권
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• 한국의류학회지
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• 제36권9호
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• pp.901-915
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• 2012

This study comparatively analyzes the characteristics, changes, and differences in class-based costume typology according to a concept of $17^{th}$ and $18^{th}$ century common people in France. The methods and contents are as follow. First, the scope of common people is grasped according to the historical background and a concept of $17^{th}$ and $18^{th}$ century common people in France. Second, through considering a prior research on analyzing the data of ancient documents on the economy of clothing, it classifies common people into bourgeoisie, urban common people, rural common people, and the destitute. It then examines diachronic evolution, and class-based synchronic difference in the consumption of $17^{th}$ and $18^{th}$ century common people's costumes in France. Third, it analyzes the appearance frequency by period according to type of common people's costumes, which were shown in pictorial materials with 283 sheets of engravings and 54 pieces of paintings; in addition, it reconstructs the succession and expansion in typology. It grasps differences and changes in morphology by class, space, and period of typology for common people's costumes. Common people's consumption of costumes was understood to have grown in qualitative aspects as well as a rise in the whole clothing demand. A class-based structure formed and indicated that a fashion cycle existed. As a result of analyzing common people's clothes (shown in pictorial materials of the $17^{th}$ and $18^{th}$ century) 41 items were grasped by gender and according to costume kind. Typology in common people's costumes (classified into bourgeoisie, urban common people, rural common people, and the destitute) showed a change by period. A change in typical costume typology was accepted more by the bourgeoisie than by urban and rural common people, and was accepted more by rural communities than by urban populations. Thus, a difference was formed through an expansion with a temporal difference that depended on class and space.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• 복식문화연구
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• 제18권2호
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• 패션비즈니스
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• 제14권6호
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• pp.188-203
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• 2010

This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women's dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the $19^{th}$ century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A.line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three-dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women's suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. In the late Victorian age when the hourglass style was in fashion, mantle returned again to plain design emphasizing the details of the shoulders. The results of this study are expected to present motives for the development of contemporary designs, to contribute to the new recognition of the value of mantles, and to open a new research area of clothing history.

• 복식문화연구
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• 제21권3호
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• pp.376-393
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• 2013

In modern society, culture is an important factor to form a country's image and identity and a representative content to generate revenue. Culture is a keyword to design life in the 21st century and has become competitiveness between countries. As a cultural content with international competitiveness, this study performed textile design development with the use of relics from the Tomb of King Muryeong, which is the tumulus of King Muryeong who was the 25th king of Baekje among Korean history. The developed design could be applied to the production of various fashion cultural products such as clothes, scarf, neck-tie, and bag. The process for the design development was carried out as follows: As a first step, this study found basis as a cultural content with a global sense that could form the historical value of the Tomb of King Muryeong and gain global sympathy of people all over the world through literature reviews. As a second step, this study examined the current state that traditional Korean elements were used as a fashion cultural products. As a third step, this study analyzed the current state and problems of fashion cultural products using relics from the Tomb of King Muryeong through field survey. As a final step, this study planned the concept of design with the use of diadem ornaments, earring, sword, stone guardian animal, and bricks with lotus-flower design from the tomb of King Muryeong. And these developed 6 textile designs could be applied to the production of various fashion cultural products.

• 복식
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• 제58권3호
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• pp.116-122
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• 2008

This study aims at defining the meaning of Pobeckchuck in the historical view-point, which appeared in the History of Joseon Dynasty, regarding the periods from the ruling period of Sunjo to that of Sunjong as the latter part of history. Pobeckchuck used in King Sejong was redressed in accordance with the measurement in the Kyeonggukdadejeon(code), in which time one Pobeckchuck was 46.80cm long. It is known that Juchuck, Hwangjongchuck, Youngjochuck, Joraegichuck etc. which had been used in the ruling period of Sejong Dynasty, were used till the period of Youngjo. Also, the document shows that in the 12th ruling period of Sunjo, Pobeckchuck was used for measurement, and in the 20th ruling period of Sunjo, newly-made ruler was only used for the measurement of fields, but no more details about how long it was. But according to the document complied at that time, one Pobeckchuck was 46.80cm long, which fact reveals that the same measurement was used as in the ruling period of Sunjo. When all the measurement laws which were established in the 3rd year of Junghee, the 6th year of Kwangmu were abolished, Pobeckchuck was solely banned from its use, which fact offers a glimpse of how confusing at that period was. The comparison and examination among many documents in the latter part of Joseon Dynasty show the differences within about 4cm that one Pobeckchuck ranged from 44.80cm to 48.80cm long. But no other document on measurement appeared in the History of Joseon Dynasty, except for the 46.80cm. Thus, the 46.80cm corrected in the ruling period of Sunjo proves that one chuck in Pobeckchuck adopted by the dynasty was used as the measurement of length till the ruling period of Sunjong.

• 복식문화연구
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• 제28권4호
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• pp.420-428
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• 2020

This study analyzed the expression of hanbok in online fashion styling games, and examined the main themes of and user reactions to hanbok fashion styling games through semantic network analysis and sentiment analysis. KrKwic, Textom, and NodeXL were used for data collection and analysis. The findings of the study are as follows: First, depending on the designer's expressive method, hanbok fashion styling games provide typical traditional hanbok, modern hanbok, and dress-like fusion hanbok, demonstrating contents with various themes for different sexes, classes, and situations. Second, as a result of analyzing the themes of hanbok-related styling game contents, it turned out that the main themes are tradition, color, historical drama, fusion hanbok, holiday, and love. Most of them produce modernized hanbok that reflect the situation and utility rather than strictly traditional ones. Third, as a result of analyzing user reviews of hanbok styling game contents, positive factors mostly turned out to be the satisfaction of the hanbok contents, with the users also showing positive intent to wear hanbok. Through this, it was found out that hanboks portrayed in game contents could potentially cause the user's positive intent to wear hanbok. Negative factors turned out to be the discordance between the intrinsic image of hanbok and the game character's image.

• 한국의상디자인학회지
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• 제20권1호
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• pp.61-77
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• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• 한국의상디자인학회지
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• 제18권2호
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• pp.35-49
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• 2016

Dopo was the clothing of the Joseon period, which had a strong value of Confucianism. Apart from the kings and princes, government officers and Confucian literati wore Dopo as their official clothing and the uniform. The basic form of Dopo had the straight collar similar to Jikryeong. The difference is the shape of a Mu, which was fixed inside or on the back section along the side line of the front section and made two flaps on the back section. The clothing found in the tombs of Bae Cheonjo (1532~?) are from the mid-16th century to the early 17th century with the clothing style of the early Joseon period. The outer collar of all clothing was the shawl collar except for the Sibok and the inner collar was sewn to this. Two items had square tray collars, which were folded in half and sewn inside in half. The sleeve had a straight inseam from the armhole and its end around the wrist was round and wide. The carp-shaped inseam of the sleeve and wide sleeve indicated a change of sleeve shape. The shapes of the collars and the wide overlapped section of the dual collars demonstrated the shapes of the initial outer robes. The man's outer coats with wide sleeves were mostly cotton-quilted clothing. As described above, this paper examines the basic shapes of outer robes including Sibok, Jikryeong and man's outer coats on the basis of the clothing and artifacts from the tomb of Bae Cheonjo (1532~?) and examined the shapes, composition and features of Dopo. This paper aims to improve awareness of the wisdom and spirit of ancestors in life hidden in the sewing of the three Dopo items and on the importance of historical research.