• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1322-1331
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• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.45-54
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• 2009

The reform of dress regulation in Kapshin(甲申衣制改革; 1884) was the first dress renovation in 8 years after Chosun's port opening in 1876, and the key contents of that reform was the simplification of the formal dress and private dress. The reform in the culture of the traditional costume should require some kind of special experience because that culture had been regarded as the precious symbol of the Confucianism. The purpose of this study is to investigate the background of "the reform" and who proposed "that reform", by contemplating the costume and the thought of costume of the ambassador extraordinary(修信使) and the Inspectors detached to Japan(朝士視察團) who experienced new costume system of Japan sent by Chosun Dynasty. For this study, historical documents such as 'Sillok(實錄)', a sort of report("修信使記錄", "聞見事件") were reviewed and the evidential photos in Japan were analyzed. It can be summarized as follows. First, Kim Kisu(金綺秀, Susinsa) in 1876 and Kim Hongjip(金弘集, Susinsa) in 1880 wore the traditional costume of Chosun in Japan, and described the westernized Japanese costume in view of traditional costume culture. Second, the inspectors detached to Japan in 1881 showed the same attitude to the Japanese costume as the previous Susinsas had done. Third, Park Younghyo(朴泳孝), who was an ambassador extraordinary and plenipotentiary(特命全權大使) in 1882, experienced western style in Japan and played an positive diplomatic activities with western nations. It could be guessed that those changes in the attitudes of the diplomats might have the relationship with the change of Chosun, which began a treaty of amity between western nations after 1882. Afterwards, Chosun seems to have decided to reform the system of traditional costume into the simplified one in 1884, proposed by the diplomats who experienced foreign culture abroad including Park Younghyo(朴泳孝) and the mutual agreement in Chosun Government.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.143-156
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• 2006

The purpose of this study is to analyze changes in military uniform design according to the type of war in history and to suggest factors to be considered when designing military uniforms. Military uniform in this study has been limited to uniforms of land active soldiers and not only includes battle dress but also bombproof helmets, combat boots and webbing systems. Western military uniform was investigated starting from World War I focusing on the United States, United Kingdom, Germany and the Soviet Union, and Korean military uniform was analyzed starting from the Korean Day of Independence. Historical research, case studies and in-depth interviews were included in the study. World War I was a trench war. Khaki colors began to be used in battle dress, and steel helmets and gas masks were invented. World War II was a full-stale war. Many kinds of uniform were designed with various environments and roles of soldiers in mind, and camouflage was adopted in military uniform. Modern wars were wars of technique. Strong protectors were invented and diverse camouflages were adopted as rifles became increasingly accurate and biochemical weapons started to be used. Korea referred largely to the uniforms of the United States because it lacked both information on war and the financial power to invest in development of military uniforms. Finally, this study presents 5 factors to be considered when designing military uniforms: protection, camouflage, mobile and utility convenience, compatibility and symbolism. Wars of the future are predicted to be information wars utilizing realtime information collected through computers. Therefore new military uniforms with computers, communication devices and strong protective capacities need to be developed. This study aims to provide a theoretical basis for designing military uniforms of the future.

• Korean Journal of Human Ecology
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• v.15 no.5
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• pp.803-809
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• 2006

Korean traditional paper 'Hanji' made from the bark of the paper mulberry tree is a good handicraft material because of its high viscosity, durability, dyeability, toughness, flexibility, plasticity, and manipulability. Hanji has been used as a textile material such as cotton wool for protection and keeping us warm from cold weather. However, Hanji has many limitations, while other textile materials have many advantages of such as washability, being sunproof, and fast coloring. The purpose of this study is to review physical properties, formation ability, and dyeability of Hanji as a material of fashion accessary. The contents of this study are composed of 5 parts: 1. To introduce the necessities of this study, 2. To review a historical background of Hanji and to identify its physical characteristics as a fashion accessary material, 3. To review and to compare techniques such as bonding, quilting, knitting, creasing and holding, twisting, folding & braiding, paper pasting, coloring & cutting, and outwashing(?) in making Hanji fashion accessaries, 4. To review dyeing and finishing techniques to increase commercial value, 5. To identify the best fashion accessary materials made of Hanji. The most important characteristics of Hanji as a fashion accessary material are its toughness in a wet state, fast color fixing, and flexibility. Especially weaving and knitting are considered as the most desirable techniques to make fashion accessary products stronger and more practical.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.661-676
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• 2007

The purpose of this study was to investigate the periodical change of Korean children's clothing from 1960 to 2000. As valuable historical data, 794 children's clothing in wedding pictures in these periods were collected for this study. Research method was content analysis and frequency, cross table analysis, and ${\chi}^2$ test were conducted for data analysis. The results of this study were as follows. The children's clothing in 1960s had very humdrum and limited design and plain pattern. And most of children in this period wore Western clothes of casual style. In 1970s, children's clothing was enriched in terms of design, pattern, color and ornament. However, clothing design for children was not developed yet, so form of children's clothing in this period was showed as duplication of adult clothing design. In 1980s, The children's clothing was developed with enhancement of the level of living. Various style and sophisticated design were appeared and design and size system for children were developed. With increasement of social interest of leisure and sports, casual style was especially popular in this period for both of children and adult in this period. In 1990, rapid decrease of birth rate resulted in parents' excessive interest and investment for their children. In this effects, children's clothing in 1990s had luxury, various, and individual characteristics.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.163-179
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• 2010

False sleeves are 'the sleeves that are attached to clothes but exist just as a part without any function to put arms in them.' They are different from sleeves to put arms in them and are to follow the trend or a way of wearing clothes. They are mostly found in medieval Europe's decorative sleeves named 'Hanging sleeves', but they are also found in Eastern region, too. They are found in sleeves that attached women's headgear in East and Middle Asia, and also in high-class male caftan in Ottoman Turk in the 16th and 17th century. False sleeves can be divided into two kinds by shapes. The first ones are the decorative sleeves of which trunk-shaped sleeves hang around the whole or part of the arm hole but have no function to put arms in them; this is called as 'sleeve-shaped False sleeves'. These sleeves are found in women's headgear in medieval Europe, Ottoman Turk, and East and Middle Asia. False sleeves in Europe and Ottoman Turk played a role in showing wealth and power while those in East and Middle Asia had a great role in highlighting the costume's decorative effect. The second ones are the sleeves hanging down from the arms by attaching long cloth to the arm hole, in design; these are named as 'cape-shaped False sleeves.' This style is found only in medieval Europe, and presumably, these cape-shaped false sleeves may have played a role in boasting of one's wealth and power.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• Journal of Fashion Business
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• v.6 no.4
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• pp.32-45
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• 2002

The purpose of this study is, to renew understanding the aesthetic value of a ruff collar and to expand the border of creation in designing as the source of inspiration being applied to an retro style by inquiring various ruff collars re-illuminated in the present-day fashion trend. The ruff collar investigated through the above historical contemplation became the source of inspirations in the current retro trend and was variously modified in modern fashion. In the 1980s, we can find a dignified and feminine image in graceful and exquisite suits or dresses. Especially, the spanish round ruff of the 2st period appeared on works by a lot of designers. From the application by designers like John Galliano in the latter half of the 80s, we can be well aware that the meaning of decoration was newly altered. In the 1990s, the ruff collar was shown in various fashion style, but it was what was reborn as a factor of modern fashion through a liberal compromise and harmony. Various style was shown from exaggeratedly swelling one to smaller one, which were more diversely applied than that of the 80s. A Medici collar and a Queen Elizabeth collar were also displayed being fitted to a modern sense by Vivienne Westwood and Louis F raud. A ruff in the 2000s was settled as a factor of modern fashion, exposing on works of designers more often than in the 1980s and 90s. The spanish round ruff appeared on garments, while a Medici collar and a Queen Elizabeth collar went out of sight. A new form of the ruff was regenerated by extreme magnification and simplification, and several designers like Issey Miyake and Alexander Mcqueen brought forward a new way in materials and technical skills. According to this research, a ruff collar developed as a fashion factor which characterizes a certain period of time, reflecting the aesthetical sense of Renaissance and turning into various and distinct forms. Afterwards, it exerted influence on modern fashion. This is offering the source of inspiration to contemporary designers.

• The Research Journal of the Costume Culture
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• v.27 no.2
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• pp.140-153
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• 2019

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.