• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.6 s.154
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• pp.859-869
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• 2006

We proposed that the replicas be made as an alternative to achieve such reciprocal goals as the safe preservation of traditional costume relics and socio-educational realizations through exhibitions, etc., A replication was categorized for its purpose into a restoral replication: a work based on the historical research of color and shapes as they were originally made and a current state replication : a production based on a minute record of the relics as they are excavated. Then, we reported the reproduction process from the excavation to the exhibition on the excavated traditional costumes of Milchanggun's Jobok. The purpose of a replication of relics is to record the relics experiencing the change resulted from the inevitable degeneration over time as organic cultural assets together with the substitution exhibition of relics and academic researches and so on.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.68-80
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• 2007

Surrealism's method of expression and inspiration has been a continuous influence on fashion. What is important is how to identify and research a source of inspiration, and how to use this inspiration to guide the designs that can be worn on a real human body. Therefore, the purpose of this study was to show how to develop ideas and designs from Surrealist objects and how to contribute to the development of designs to the diversity in visual and functional effects along with the changes in consumer's interest. Documentary studies about Surrealism and Surrealist-inflected fashion applying the works of Surrealist and fashion images as a tool of historical research were proceeded. And the ideas for theme, the motifs for print patterns, and the concept of designs were borrowed from Surrealist objects touching on the imagery between the real and reflected, optical and artificial, and the designs were developed with several different visual and functional effects changing color, pattern, size, and length with the function of zippers in each item. It also gives the person wearing it amusement because it includes the concept of play and D.I.Y. With effective planning, it is possible to attract consumer's interest in the market.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.676-690
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• 2013

This study explored the historical meaning and the present practices of Indonesian batik. Relevant literature was reviewed first; subsequently, interviews and observations were conducted to achieve the purpose of the study. Historically, batik was an integral part of the Javanese court art as well as a representation of each regional culture. Batik also became an important means to reveal a national identity in postcolonial Indonesia in the 1950s. There exist two types of traditional and modern type batik in present Indonesia. The traditional batik refers to batik tulis, batik cap, and the combination of tulis and cap. The modern batik is comprised of a batik print as well as the combination of the print and the traditional batik. The traditional batik was practiced at the small-sized village batik workshops and in the government batik research center. A few batik workshops often co-operate with modern screen print factories; however, the use natural dyes for the dyeing of batik cloth is rarely found. Batik was used for varied objects made from fabric materials that include clothing, small fashion items, living supplies and furniture, as well as fine art such as paintings and wooden crafts.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.115-132
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• 2021

The purpose of this study was to suggest multiple directions of fashion design by producing differentiated athleisure fashion designs with functional materials based on existing sportswear. A design utilizing handcraft skill was developed by applying the design characteristics of Laszlo Moholy-Nagy's paintings. With respect to the study methods, the background of Laszlo Moholy-Nagy's paintings were analyzed and their historical background was investigated by employing previous studies and literature review. The design characteristics were classified by issue and time-period. The results are as follows; First, the feasibility of creative artwork expression was found by pursuing collaboration with artwork and fashion by applying the motives of the fashion with the characteristics by the times, lines, forms, colors, and overlapping in Moholy-Nagy's paintings. Second, athleisure fashion, which can mix-match with casual wear, was found to enhance not only creativity but also add value by applying design, which added multiple handcraft elements, as well as characteristics of functionality, aesthetics, practicality, appealability, ostentation, activity, and dynamism. Third, potential harmony was found with achromatic and chromatic colors that can express more dynamic and active images. Based on the study results, further studies are anticipated using multiple paintings.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1971-1980
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• 2008

The purpose of this study is to explore the meaning and depth of traditional knitwears, and to develop knitwear designs by using Aran motif, one of major motifs of traditional knitwears and on the basis of the 'continuance' theory of Henri Bergson and Jill Deleuze. Connectivity, the sense of space and deconstructive fluidity-basic concepts of the continuance theory-are felt in such forms as pleats, origami, and air pumping systems, blob and twisting used in the modem fashion. The motif of Aran knitwear which has a long historical tradition can be reinterpreted in terms of those concepts of the continuance theory. In this study, we designed five pieces of knitwear while applying cable motif, an important motif of Aran knitwear, and the concepts of the continuance theory to them. This study will make a contribution to the designing of knit wears through reinterpretation of a traditional motif in terms of a modem philosophical thought.

• Fashion & Textile Research Journal
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• v.5 no.3
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• pp.299-303
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• 2003

Some of historical textiles were analyzed to identify the imprinted textures on the metal remains of Haengyeup(a horse strap pendant) and Doja (a knife), which were excavated in the ruins of Hwangsung-dong, Kyungju city in the fifth century and textiles imprinted on the human bones that were excavated in the Pungnae 4th Area, Namyangju county in the sixteenth century. The results analyzed arc as follows ; It was confirmed that the imprinted textures of Haengyeup and Doja are white ramie since the structural characteristics of cellulosic bast fibers, partially projected long oval cross sections with large lumens and the imprinted textures of human bones are silk fabrics since the triangular cross sections of fibroin is showed. All of the textiles were designed in plain weaves. In the case of weaving yarns, the warp threads were thicker than the weft threads, that is, the imprinted textures of Haengyeup were measured by 1.35 mm for warp and 1.21 mm for weft, and the Doja by 1.16mm for warp and 1.11 mm for weft. In connection with the direction of the yarn twist, the Z-twist were observed in the imprinted textures of human bones, whereas it presented the S-twist in the case of Haengyeup and Doja. The warp yarns were mostly harder twisted than the weft yarns on the amounts of twist, that is, it was observed that the case of Haengyeup were amounted to 0.33 twists per centimeter for warp yarns and 0.25 twists per centimeter for weft yarns. Also it was showed 0.32 twists per centimeter for warp yarns and 0.26 twists per centimeter in the case of the textures of human bones. On the fabric counts, it was showed that the finer the yarns the higher the densities since it were $4.3{\times}5.1$ threads per sqaure centimeters and $7.6{\times}7.1$ threads per sqaure centimeters each in the case of Haengyeup and Doja, whereas it was $18.2{\times}33.7$ threads per sqaure centimeters in the case of the textures of human bones.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.117-137
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• 2011

This study analyzed historical records on silk tabby-ju(細), Si(總)- in a diachronic and spatial point of view. The historical records were written in Samguksagi(三國史記) of Korea, Eastern barbarian[東弟] section of Ershiwush(二十五史) of China and Ritkokusi(六國史)of Japan from the $4^{th}$ century to the early $10^{th}$ century. The study finally could reach the conclusions as follow. Firstly, records that fabrics like Ju were used were found in the Korean historical documents written on Balhae(渤海) of the $8^{th}$ century and Sllla(新羅) of the $9^{th}$ century. On the other hand, no official record on production of fabrics like Ju was found in the Japanese historical documents up to the $10^{th}$ century. Instead, there are some records that Si was produced and used for the first time in the $7^{th}$ century and it was rapidly spread in the $8^{th}$ century. In the $9^{th}$ century, the number of records on Si was sharply decreased and the importance of Si in the foreign-relation point of view also went down gradually. Secondly, records on using and trading with both Ju(細) and Si(總)in the foreign relation of two countries were shown from the $8^{th}$ century to the $9^{th}$ century. In the period, international exchange had been promoted among Balhae, Silla and ancient Japan. In the $9^{th}$ century, fabrics like Ju of ancient Korea was introduced to ancient Japan ancient Japanese people could not manufacture Ju by themselves at that time. On this account, we assumed that ancient Japanese people might consider Ju as high quality fabric rather than Si that had been used as general fabric. Meanwhile, it is found that Japan presented various kinds of Si to Balhae and Silla from the early $8^{th}$ century. As the foreign relation between Sllia and ancient Japan got weaker in the mid-$8^{th}$ century, frequency and amount of supplying Si to Balhae were relatively increased. Besides Si, Balhae was given a lot of silk yarn and floss. These fabrics presumably were used as raw material of Ju in Balhae because Balhae got low output of silk due to its geographical condition.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.536-547
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• 1995

The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs very Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of "Design War", it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of Korean style fashion designers since the 1980s, 1 could see that Korean designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of "very Korean" does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely Korean mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of "very Korean" we must create fashions completely Korean and modern at the same time.n and modern at the same time.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.126-142
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• 2007

The second part of this study is to typify plural sexuality articulated with fashion images in men's and women's popular fashion magazines in Korea since 2000 and ultimately to infer sexual ideology codified in modern fashion by a framework of this study, the socio-semiotic model. From this, sexuality represented in modern fashion was typified as follows: in women's fashion Traditional Femininity, Glamor Femininity, Androgynous Femininity, Babydoll Femininity and Genderless sexuality, while in men's fashion Traditional Masculinity, Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity and Genderless sexuality. The conclusion of this study is as follows: First, modern fashion has been changed from a means expressing gender and class into a sign vehicle representing the new ruling system of age and sexual desire. The binary oppositional sexuality on center of man in the 19 C capitalist period has been gradually pluralized towards the post-capitalist period. Next, mainstream society in Korea is still positioned in the traditional heterosexuality, keeping the vertical power relationship between man and woman even in the post-modern period. However, the fact that both Traditional Femininity and Androgynous Femininity acquire the position of dominant femininity connotes the change of modern femininity. Finally, plural sexuality represented in modern fashion has family resemblance and it shows contextual flexibility within contemporary period as well as a historical context. As a result, sexuality floats with a specific historical and socio-cultural context, and fashion as a material culture represents a masquerade as a identity vehicle, which constructs and de-constructs sexuality at the same time.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.340-355
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• 1995

purpose of this study was to trace historically the causes of the visual inconsistency of seXual ilT'age in dress with versatile perspectives. For this purpose, theoretical studies about the concepts of sexuality in dress were precceded. To trace the factors of the visual inconsistency of sexual image in dress, historical studies from ancient Egypt to modern ages were done. And then, the factors of the visual inconsist\ulcornerency of sexual image in dress were identified. The synthetic results were as follows; L The visual inconsistency of sexual image in dress shows the phenomena that men introduce the traditional feminine image in dress (ex. X silhouette, skirts), whereas women do the traditional masculine image (ex. Y silhouette, pants), which arouse androgynous image in appearance. And, it also indicates that men or women wear the dress excluded the traditional masculine image as well as the traditional feminine image, which arouse neutral image in appearance. 2. The visual inconsistency of sexual image in dress have been existed historically, from Egypt to modern ages. 3. The visual inconsistency of sexual image III dress was caus~d by various factors as follows; First, ideal beauty of the times which did not distinguish between masculinity and femininity resulted in the visual inconsistency of sexual image in dress. Second, as a means of seeking pleasure, the visual inconsistency of sexual image in dress was used. Third, as a means of expressing ideology, the visual inconsistency of sexual image in dress was selected. Forth,in religious meaning,the visual inconsistency ofl sexual image in dress was appeared. Fifth,popularization of sports and occupational role made woman adopt the masculine image in dress in view of the aspects of functionalism. Sixth,Undevelopment of taloring contributed to generate androgenous image in dress.