• Fashion & Textile Research Journal
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• v.6 no.5
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• pp.565-574
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• 2004

The purpose of this study is to investigate the historical background and basic composition of costume of the Baekje period. Main official hats of Baekje include the transformed hat, jougwan and daeryun-style ipsikgwan. Daeryun-style ipsikgwan employed chowha shape in most cases, symbolizing good auspice under the harmony of the male and female principles. Main types of costume of the Baekje period are po, yu, go and sang. The king, governmental officials and the common people all put on po of jikryeong gyoim style. Yu' is classified into two styles, chaksu with the narrow sleeve and daesu with the broad one. 'Go' has two styles, gunggo and gwango. The former is narrow in the breadth of the trouser and the latter, wide. 'Sang' is classified into various style according to whether it contains stripes of many colors, thin wrinkles or thick wrinkles. For the decoration of official hat used in the period of the Three Kingdoms, Baekje employed chowha in shape, Kokuryo, chowha and joik and Shilla, joik. In Baekje, rhythmic patterns of flame were applied to official hats, presenting brilliance. In Shilla, shaking geumyeongrak was used for official hats to show movement. In Kokuryo, such hats used flapping feathers, symbolizing dynamic power. Most necklaces and bracelets of the Baekje period were simple and plain.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.307-322
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• 2015

This study develops textile designs and cultural fashion products with the image of 'Youngguchunhwa', which means the beautiful spring flowers of Jeju. Historical literature was reviewed to emphasize the authenticity of Halla Mountain and Youngguchunhwa. Consumers' responses to Halla Mountain, Baengnokdam, and Royal Azalea related to Youngguchunhwa were evaluated along with photos of Halla Mountain and Youngguchunhwa images upload on Internet during the last 2 years. The results of consumer survey and photo analysis confirmed the consumers' high preference and high association with the image of Jeju. The full-blown Royal Azaleas in the Seonjakjiwat field of Halla Mountain were used as motifs for the development of Jeju cultural products as a representative landscape showing the beautiful spring of Jeju. Six types of textile designs were developed by the repeated arrangement of the basic patterns of Halla Mountain, Baengnokdam, and Royal Azalea. Ladies' apparels products, children's wear, bags and cushions were made using oxford cotton fabrics printed with the textile designs. We suggest how pattern designs of the Youngguchunhwa image could be applicable and used for the development of other kinds of Jeju tourism souvenirs.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.1-17
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• 2011

Ever since Homeros in Greece, Mimesis was thought to be an art that imitates nature, especially the classicism of nature. Mimetic theories were used in the artworks in the era of the Renaissance, and the terminology 'mimesis' replaced the idea of originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in Online video game apparel design. For this purpose, I researched different theories of 'mimesis' and applied them to Online video game apparel designs. The research was conducted using various books on aesthetics and fashion, and demonstrative studies were processed by analyzing photos from Internet video game websites. In the history of aesthetics, the term mimesis is divided into three categories: external, internal and multiple mimesis. External mimesis represented the historical point of view in the design, which showed the beauty of the ancient times. Internal mimesis displayed the metaphorical symbols of religion, character, psychology, sexuality and fear. Multiple mimesis was the hybrid and the distortion of the different aspects of mimesis. Applying this research on mimesis and expressing them in Online video game design may be an excellent method for understanding human aesthetics in video game apparels.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.956-970
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• 2006

The purposes of this study was to analyze the characteristics of national races' costumes in Chinese contemporary costumes. For the purpose, this researcher concentrated on the relations between national races' costumes and Chinese contemporary costumes and discuss systematically depending on references such as fashion magazines, picture albums, and historical records. The results of study were as follows: First, the formation of fashion has been influenced by Man, Uighur, and Choson races. For example, Qipao, the tight style of Man race's fashion, Uighur race's bell style sleeve and cyclic skirt are applied to women's modern fashion. Second, weaving, printing, and embroidery technique of a minority race developed more than Han race, so applied still. Recently, Chinese contemporary costumes accepted the weaving technique of Miao and Uighur race through publicizing of a minority culture. Third, a national race's costumes are famous with splendid design and applied to modern fashion directly. They are commonly made to hair pin, necklace, earing, bracelet and so on. Recently, styles from a national race's costumes and old style are becoming popular to Chinese and it's easier to found such a fashion in market.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.35-42
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• 1980

Gan Tack is meetings for marriage in Royal Families only. There are three selection courses before the final decision of one person, and it done with a view to finding the best person in the country. On the history of costume, it was greatly changed in Yungjo's period. In this thesis, I studied the costumes of king Yungjo, Jungsungwanghu who is the consort of Yungjo, Inwonwanghu who is the consort of the late king, Sunhigung who is a seraglio of Yungjo, Ongjus who are King's daughters by seraglios, Sanggungs who are court ladies, Yumo who is a wet nurse, and etc., for Gan Tack with Hyaegyunggung-Hong who is chosen the consort of Prince, and research the Dresses, which are Jugori, Chima, Dangui, Gonryongpo, and Wonsam. The girls who attend Gan Tack dress up Jugori whose color is yellow, Chima whose color is red, and Dangui whose color is green. King wears in Gonryongpo, the Consorts in Wonsam, and the court ladies and Ongjus in Dangui, of course, there are differences of the colors and ornaments on the ranks. Finally, I hope this thesis will be of great help to the costume of historical dramas.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.539-547
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• 2002

Heungdukwang's(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shilla's(統-新羅) costume. And among the clothing pieces that appeared in Heungdukwang's(興德王) costume ordinance, from Pyosang(表裳), Naesang(內裳), we know they wore one skirt over another. But skirts appearing in visual records are wort in waist line or breast line, and when they wore skirts in breast line, there were shoulder belts or not. Also among the clothing pieces that appeared in Heungdukwang'a (興德王) costume ordinance, Yo( ) and Ban( ) seems to be connected with skirt. but it is not clear. So this study focuses on the history of wearing skirt in breast line and one skirt over another, shoulder belts of skirt, and relation among yo( ), Ban( ) and skirt. The results are as follows. First, wearing skirt in breast line is already appeared in Ancient Shilla's(新羅) clay figure, and wearing one skirt over another is also appeared in Sunhung tomb's mural painting. so it is not completely under the influence of Tang(唐). Second, the shoulder belts of skirt is for convenience of action, But, at that time, there is no shoulder belts of skirt in Tang(唐). Third, between Yo( ) and Ban( ), If Yo( ) is connected with skirt, it is a shoulder belts of skirt or waist of skirt. And Ban( ) is a ire of skirt.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.11
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• pp.1208-1221
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• 2012

This study was conducted with the budgetary support of the Gyeonggi Provincial Government Department of Education as curriculum preparation (frequently revised since 2007) for the enhancement of teacher professionalism in Clothing, Food, and Housing Life education. This study promotes changes in student learning through the enrichment of Home Economics content and the classroom-learning environment through the reinforcement of teacher professionalism and attitudes towards Clothing, Food, and Housing Life education. This study enhances the comprehension of Home Economics and understanding by educators on the importance of Home Economics. The training program was evaluated through an analysis of the motive of application, level of satisfaction with the program, change in the view of Clothing Life education, and level of expectation and contributions of the program towards the curriculum development of teaching. The trainees were motivated by the opportunity to practice, uniqueness of the curriculum of the training program, and expectations for professional enhancement. The level of satisfaction is very high. Regardless of subjects, trainees recognized the necessity of practical exercise, cultural & artistic approach, and integrated teacher training in Clothing Life education. The teachers of other subjects recognized the importance of Home Economics and the historical background of Clothing, Food, and Housing Life.

• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.932-948
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• 2021

Tartan, the woven, checked, and wool textile considered by many to be originally from Scotland, has in fact been in use in a range of forms across numerous cultures and during various historical periods. The characteristic checked feature is due to the assembly of different coloured threads in both warp and weft directions which intersect at 90 degrees in a combination known as a sett. For well over one hundred years, different setts and thus different colour combinations have been associated closely with different geographical regions within Scotland, as well as different clans or families. Tartan-type textiles have reached popularity at various times and those have often been a predicted fashion trend suggested, for example, by contributors to fashion gatherings such as Premier Vision in Paris. Often proposed designs are best considered based on tartan combinations rather than simple reproductions. Promotional terms such as "patched checks" or "textured checks" have been common, and often these have been derived from tartan-type constructions. This paper explores novel pattern design methods by identifying the underlying grid structures and proportions exhibited by various well-known tartan setts. The possibility of pattern development from tartan grids and their manipulations is thus the focus of attention. An insight into the methodology associated with the production of original pattern designs is thus provided.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.3
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• pp.544-559
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• 2023

Social discourses surrounding diversity, equity, and inclusion (DE&I) in the fashion industry are vital as they extend beyond language and encompass social practices. This study aimed to understand how discourses on DE&I with in the fashion industry are reconstructed and practiced in society. Therefore, this paper analyzed DE&I in the fashion industry, by focusing on the New York Times articles, employing a quantitative research model based on corpus analysis and a qualitative approach through critical discourse analysis. Results of the analysis of textual practice, showed that the New York Times emphasized black individuals as the central discourse and created a critical racial narrative regarding DE&I in the fashion industry characterized by a dichotomy of black vs. white confrontation. Furthermore, results of the discourse practice analysis revealed that the dichotomy of racial confrontation in the New York Times article tended to select the subject of discourse related to racial DE&I in the fashion industry according based on social and historical context. Thirdly, the analytical results of sociocultural practices indicated that the dichotomous racial discourse between black and white, propagated by the New York Times, spread across social media, transforming fashion from an industry to a domain where black individuals struggle for human rights.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.45-61
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• 2003

Parhae and ancient Japan officially exchanged at 34 times during the period from AD.727 to AD.920. The envoys of each nation also sent the other nation with some items. The names of the items are identified by the historical records; those which Parhae presented to ancient Japan were leader shoes, which is called AmMoHwa(암모화), belt(대) various leaders and those which ancient Japan presented to Parhae were formal uniforms[관복], various textiles, coronet, shoes. We can recognize that the leader items of Parhae are frequently recorded as the gift to ancient Japan because they were the main manufactures in Parhae at that time. In addition, the government of ancient Japan gave the Parhae's envoys a high rank, five-grade(5위) and noble costumes like JinKaeEui(진개의) and so on were well-matched with their high rank. While being official exchanges, it is supposed that there were lots of other unofficial exchanges. Historically, in Japan, the time came under Nara(나양) era(AD.719~AD.794) and the beginning of PyungAn(평안) era(AD.794~AD.1192) and in the same way in Parhae, King Mun(737-793) reign. One of the features at that time is that Tang's culture was introduced to ancient Japan positively. Since Nara era strongly accepted Tang's culture, I assume that Nara costumes were affected by Tang's therefore they are the same as Tang's. In the same way, Parhae's costumes are the same as Tang's, too. The point is, it is expected that the costumes of Parhae which were exchanged with ancient Japan are similar to those of Nara by the medium of Tang's costumes.