• Journal of the Korean Society of Clothing and Textiles
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• 제46권1호
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• pp.49-62
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• 2022

The embroidered Kasaya is the twenty-five column Kasaya of Triratna: Buddha, Dharma, and Sangha. Even though it is a representative artifact of embroidery, the method of manufacturing heavily depends on the collector's reports. This study focuses on the prayer's recorder: Gonmyeong Park, born in Muja, and Ven. Haebung, who acted as a historical investigator of embroidered Kasaya. The beginning of Haebung's public record was in 1815, and his entrance into nirvana in 1826. The birth year of prayer in Muja was 1768. Therefore, the embroidered Kasaya was manufactured at the end of the 18th century or the early 19th century. Haebung appears to have played a critical role in historical investigation, and consequently the 125 icons of Triratna are almost identical in three treasures: the Kasaya at Seonamsa Temple, the embroidered Kasaya, and the painting of the embroidered Kasaya at Cheongnyongsa Temple. The embroidered Kasaya was particularly affected by the religion of a thousand Buddhas and by Triratna in the late Joseon era. Unlike the Kasaya of a thousand Buddhas in the Ming and Qing Dynasties, the embroidered Kasaya shows the Triratna in detail, suggesting that the icons of Triratna were newly created.

• Acta Via Serica
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• 제8권1호
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• pp.1-30
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• 2023

Traditional Kurdish weavings are among the world's most ancient living textile traditions. One of the largest regional ethnic and linguistic groups, Kurds have inhabited a significant part of Western Asia for millennia. Historically, Kurdish territories were crisscrossed by old and important trade routes, including the Silk Roads. This led to the formation of some of the most significant Kurdish artistic and cultural traditions, including textiles, which influenced and were influenced by those of other non-Kurdish ethnic groups from Caucasia to Central Asia and beyond. One example of Kurdish carpet traditions born in the eighteenth century at the cross-sections of Safavid (1501-1736) urban carpets workshops and centuries-old indigenous Kurdish tribal/rural weaves is senneh gelim or sojaee. A finely flatwoven carpet that was exchanged regionally and internationally as a diplomatic gift and a highly prized commodity. Although in decline, senneh gelims continue to be made by Kurdish women weavers in their original birthplace Sanandaj, the provincial capital of Iranian Kurdistan to date. This study adopts an inter-disciplinary approach to present an image of senneh gelim and women gelim weavers, tracing the developmental trajectories of the craft from the eighteenth century to the present time by drawing on extant art-historical and social scientific studies along with primary ethnographic data collected in Iranian Kurdistan (2018-2019). It investigates the craft tradition's historical origin, various aspects such as techniques, materials, aesthetics, functions, and meanings, and how these transformed over time. Additionally, the paper looks at the social contexts of production, focusing on women carpet weavers and how their socioeconomic and cultural situation has formed senneh carpet production in the past and present and the implications for long-term preservation.

• Journal of the Korean Society of Clothing and Textiles
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• 제32권10호
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• pp.1559-1570
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• 2008

Since brought into from the economic life of nomads, the felt, the target of this study, has been developed in various ways of giving the functions of class symbol as well of protection against the cold and of ornamentation. Therefore, the study on how the felt was developed in Joseon Dynasty and how different culture from nomadic tribes it formed is significant in comprehensively under,;landing the economic, social and natural environmental factors in the Dynasty. The felt named "Jeon" has been constantly appearing in Korea from the ancient time, but it was not produced actively in the early part of Joseon Dynasty. That's why it was not a climatic condition suitable for sheep-breeding, and the government managed sheep-breeding but it aimed primarily at not producing clothing materials but having memorial ceremonies. Since sheep-breeding was not widely spreaded, production of Jeon was limited and some part was imported from China, so it was one of rare valuable goods. Therefore, the felt of wools named "Yangmojeon", the colored felt named "Chaejeon", etc. were used as liking items in the high-class society, and their materials and components were a little different depending on the official post. On the other hand, people in the low-class society used to wear the felt hats made of cattle feathers and miscellaneous fur, named "Jeonlip" and "Beougeoji". Since the middle of Joseon Dynasty, use of the felt was divided into two groups according to the users and the function, along with successful spreading of cotton and development of market economy. The function of Jeon to protect against the cold was replaced by cotton, but the felt hats of Beongeoji, Jeonlip, etc. were worn by common people continuously. As seen above, it is considered that the felt culture in Joseon Dynasty was formed very differently from the nomadic culture, because of its historical and sociocultural characteristics, and it had unique developing progress among all available fabrics.

• Journal of the Korean Society of Clothing and Textiles
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• 제34권12호
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

• Journal of the Korean Society of Clothing and Textiles
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• 제34권5호
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• pp.726-739
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• 2010

This study investigates and compares the changes in ethnic fashion presented over a 30-year period to understand the diversity of ethnic trends according to historical trends. Data were collected from 59 volumes of "Vogue" magazine for January and July in each year from 1980 to 2009. The data used for content analysis consists of 407 words and these were condensed into three periods according to the decade (1980-1989, 1990-1999, and 2000-2009). The selected words were classified into five sub-themes according to previous research definitions such as Asian look, European look, American look, African look, and Oceanic look. The results are as follows. First, ethnic fashion was highly presented in the 1990s and 1980s, and decreased in the 2000s; of note is that the Asian look appeared more in the 1990s. Second, ethnic fashion showed a higher frequency of F/W seasons in the 1980s and S/S seasons in the 2000s, while both seasons had a higher frequency in the 1990s. The sub-themes of coexistence were presented 26seasons out of 59 seasons. The coexistence of the Asian-European look was evident in the 1980s and 2000s, while the sub-themes coexistence was more diverse in the 1990s. Third, the words selected from sub-themes of ethnic fashion demonstrated the differences by decade. In particular, various fabrics and patterns appeared in the 1990s.

• Journal of the Korean Society of Clothing and Textiles
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• 제30권8호
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• pp.1288-1300
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• 2006

Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.

• Journal of Conservation Science
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• 제35권1호
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• pp.19-31
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• 2019

To study the cleaning effects and post-treatment stability assessment of various methods of cleaning textiles with metal thread, six naturally-soiled historical textiles with metal thread were investigated at the Metropolitan Museum of Art, New York. Prior to the cleaning of fabricated gold, silver, and copper thread that had been glued onto a paper substrate, the artificial deterioration was carried out in a controlled environment with light(UV and daylight), and temperature and humidity factors which would weaken and damage the samples. A synthetic soil mixture was applied to the samples to imitate soil found on the historic and archaeological textiles with metal thread; the cleaning effect and post-treatment assessment were investigated by use of three textile cleaning methods: mechanical cleaning, wet cleaning, and solvent cleaning. While investigating the naturally-soiled textiles with metal thread, it was determined that the soil colors and sizes of contaminating particles of each textile were different due to the diversity of original environmental factors and conditions. After cleaning with kneaded rubber, Stoddard solvent, n-decane or n-hexane, a bright, clean effect was apparent. Kneaded rubber was successful in picking up both large and small particles, but its stickiness caused some of the metal leaf to peel off. Stoddard solvent produced a good cleaning effect, but after use of n-hexane and n-decane in the cleaning process, a white layer of residue remained on the textile's surface. Wet cleaning was not effective and the rapid humidity changes between wet and dry conditions caused the edges of the paper substrate to lose their original shape.

• Journal of the Korean Society of Costume
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• 제64권4호
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• pp.52-75
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• 2014

The purpose of this research is to classify the historical features of mid-to-late twentieth century Korean fashion with a focus on 'Nora Noh', who is a first generation Korean fashion designer. The specific questions of this research are as follows: how did mid-to-late twentieth century Korean fashion and the Nora Noh brand develop and what is the relationship between the two? What are the important features of Korean women's fashion design in the mid-to-late twentieth century? What are the characteristics exhibited in each decade in Korean women's fashion and Nora Noh's fashion? This paper conducted the research by focusing on the Korean fashion development as a background of simplification in the way of dressing and specific historical incident. Researchers deployed a qualitative research method providing a systematic review of the previous studies by analyzing content as well as eleven oral statement interviews and the case study of Nora Noh. The result shows that Nora Noh is one of the first generation of Korean fashion designers who led fashion trend and system in Korea. The designer also influenced Korean commercial fashion in the 1970s and American fashion trends in the 1980s.

• Journal of the Korean Society of Costume
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• 제56권8호
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• pp.45-59
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• 2006

The change into the information society converts people's daily lift into nomadic lifestyle, and this change of lifestyle needs to reinforce the portability in fashion. The purpose of this study is to know the historical diversion of the rallying system, characteristics and reason of this change after recognizing of the implication of fashion and portable methods. The carrying system from the primitive age to modern society was changed from use of body to designing potable equipments - belts, wrapping cloths, bags, pockets, etc. These are changed by modifying of the form of society and fashion. This change result from the development of technique, the entry of women in public affair, the change of life style, the impoverishment of nature. The carrying system of modern fashion means not only the spares in the clothing, but also a new attached system in which nomadic necessities are transformed or unified. The carrying system becomes one of the important details which designers cannot neglect in designing, and must be. developed with consideration of use and function.

• Journal of the Korean Society of Costume
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• 제66권7호
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• pp.139-153
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• 2016

Retro fashion can be defined as re-applied and re-created fashion style where a certain period or a specific style in the past would be recalled. As a unique cultural phenomenon, the 'retro' style has affected not only our daily lives, but also the fashion industry. The purpose of this study is to explore the relationship between the nostalgia and consumer purchase behaviors of retro fashion products in Korea. The data was collected using a self-administered online survey of 224 respondents. The results show that the sub-elements of nostalgia include personal and historical nostalgia. The personal nostalgia positively influences consumers' purchase intention of retro fashion products, whereas historical nostalgia negatively affects retro purchase intention. Interestingly, the moderating effects of self-connection and age of respondents on the relationship between nostalgia and retro purchase intention was identified. The findings highlight the potential role of retro fashion on modern society, as it can overturn any concerns people may have about the gloomy future and the harsh reality.