• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.387-393
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• 2005

This study compares shamans' costumes of Korea with those of Siberia and Central Asia. It also investigates the meaning of shamanism and shamans,the relationship of Korean shamanism to shamanism, and the genealogy of Korean shamanism. For collecting and analyzing data of the research, literature reviews, field studies, and the investigation of historical relics are mostly used. The following are the major findings of the research: Through the comparison of shamans' costumes of Korea with those of Siberia and Central Asia, this research finds out some similarities and differences in the costumes. Both Korean shamans and Siberian and Central Asian shamans wore shaman's costumes and used utensils like bells or mirrors when they perform a religious service. On their costumes, they both used an element which stands for birds. However, they were different in terms of the materials or styles of the costumes, of the function of the costumes, and of the decorating with ornaments. The differences in the materials or styles of the costumes, different functions of the costumes, and using ornaments or not can be viewed as a general phenomenon, which is resulted from different environments. The soul's departing the body or the possession or a mixed method can be considered as mere variations due to regional or cultural differences. In conclusion, based on the comparison of the costumes of shamans of Korea with those of Siberia and Central Asia, the shamans of Korea and Siberia and Central Asia share the same origin. And the genealogy of Korean shamans can be said to be originated from the northern shamanism.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.17-31
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• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• Journal of Conservation Science
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• v.30 no.2
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• pp.149-156
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• 2014

Low oxygen treatment and heating treatment are used to prevent insects in the field of food science. These eco-friendly control methods can be applied to biological control technique in conservation treatment of organic cultural properties. To evaluate material stability, low-oxygen treatment and low oxygen treatment are applied to wood, pigment, paper and textile that are related to historical wooden buildings. As a result, wood moisture content declined after low oxygen treatment. But decline rate is a little, so it can be expected to turn back original state as time passes. And test result on pigment, paper, textile of chrominance and strength of test materials are stable. But after heating treatment, pigments are separated.

• Journal of Conservation Science
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• v.30 no.4
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• pp.329-334
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• 2014

A scientific analysis of ancient textiles provides significant data to understand weaving techniques and culture of textiles in each region and charateristics of materials used at that time. In addition, species identification of waterlogged wooden objects is a scientific analysis method that allow us to verify information of relation of foreign species trade and exchange, of preferable species through kinds of wooden products, and of forest environment as well as method setting of conservation. As a result of a species analysis about historical textiles and a wooden comb in a bronze bowl that were excavated from Hapgang-ri, Dong-Myun, Yungi-gun, Chungcheongnam-do, Textile1 and Textile3 are identified as Urticacese Boehmeri nivea ; ramie, Textie2 is identified as Malvaceae Gossypium herbaceum, and a wooden comb is identified as Betulaceae Betula spp. It is expected that this result will help to make further comparative studies, identifying species of textiles and trees of ancient times.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.13-27
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• 2015

The purpose of this study is to understand the general process from textile design till fashion design and to understand the relation between the body structure by using the x-ray technique. The research method was to see background of the anatomic feature and human skeletal X-ray projection through historical aspect of publications, the Internet, and paper. In terms of production, in order to present a design that takes into account the unique silhouette of the human body without distorting the shape of the human skeleton, X-ray images that were reconstituted using a computer graphic tool (Photoshop CS) were reproduced into the fabric as intense images through the digital Textile Printing technique that is capable of expressing fine and delicate details, and applied into the design. An original design was developed that emphasized the impression of the human body being projected and the shape of the human skeleton realistically expressed in terms of silhouette and detail. The results are as follows: First, Body has a anatomic formative characteristic and its formativeness becomes as a great motive for the artistic expression and thereby it becomes more unique and available for new design expression. Second, Using the 'body frame' as the motive of the research, there's mainly tried to make an unique expression. Third, according to reconstructing human skeletal X-ray projection by using Adobe Photoshop CS2, it can be expressed strong and unique design. Forth, DTP which is being used as an essential technique, expresses the body frame realistically and being used the special type of functional product and silk. Likewise by discovering the diverse formativeness of our body frame and reflecting the sense of humanity into the pieces there's been able to make and develop an unique fashion design. I sincerely hope there is a hug progress in this research in this area.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.63-78
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• 2015

The purpose of this study is to compare the style of clothing by type of the Goguryeo and Xianbei Tribe based on the examination of the literature centered on the historical relationship between Goguryeo and Xianbei Tribe. The research results are as follows. First, it was found that both the apparels of Goguryeo and Xianbei Tribe had hemp cloth with the V-neckline with the blocked front part and hemp cloth with the open front that is worn by overlapping the straight collars of the upper garment. Both men and women wore the garment of the straight line collar that is worn by folding towards the left or right, or upper garment of the round shaped collar. Women wore an upper garment with short sleeves on top of the upper garment of Korean traditional clothes while men wore pants for the lower garment, and women wore skirt and apron with triangular cloth decoration on top of the skirt. Second, Goguryeo Anak Tomb No. 3 mural painting(year 357) shows that apparel worn by the lady who is the wife of the owner of the tomb is similar to the apparel worn by the lady in the lacquer painting for folding screen of the Sima Jinlong Tomb ancient painting on the woman of chaste reputation in terms of the form and structure.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.237-255
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• 1996

Parody, which is the device of humorous Postmodernism artists, has been from the comic immitation with the popular and well-known object. It's expressive techniques are very various such as similarity, transformation, exaggeration, irony, parados, inversion etc. and also it can be used another techniques of designer's will and ability based. Parody's effect consists of satire, mockery, scorn, ridicule, unexpectedness, defamiliarize, playfulness, wit, respect, esteem, wonder and so on of the original. So parody has a critical distance from the original, whichis the object of immitation. Ultimately, the expression of parody can be as extensive as from an ironic and funny inversion still containing the respect for the original to a contemptuous mockery. Nowadays Parodists have a tendency to use parody actively in order to criticize the real world or to meet the past with ironic recontextualize. And parody include the specific characters of postmodern design. So parody is widely known as a effective forms of expression in now-a-days our environment surrounded with the postmodern esthetics, and it's request will be increased rapidly. As a part of art, parody is apt to use widely in Fashion too. And from a historical standpoint it is to reconstitute the past with a critical eye and finally to become a new technique to create the new Fashion style with an intention of extension of design area.