• The Research Journal of the Costume Culture
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• v.26 no.5
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• pp.727-743
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• 2018

In this study, we used the 3D simulation program to create bodice patterns for adolescents boy students and analyze the fitting and air gap through 3D simulation. The purpose of this study was to select the bodice pattern method that best suited the body shapes of the adolescents male students. The subjects of this study were the French E pattern, Japanese N pattern, and Korean industrial L and J patterns. The applied size was the sixth Korean human body size survey data of 2010 Korea. The age range of the subjects was 13-18 years. DC Suite Program Ver. 5.1 was used, and SPSS 23.0 program was used for data analysis. As a result of comparing the shapes of the bodice patterns in the 3D simulation program, the E pattern had two waist darts on the front and one shoulder dart and one waist dart on the back, and the J and L patterns only had one dart on the back. The N pattern had no darts on either the front or back. As a result of examining the appearance evaluation of the pattern, air gap, color distribution, and clothing cross-section, the E pattern was evaluated as the closest to the body, and the N pattern was evaluated as the pattern with the largest allowance. The J pattern was evaluated as the best fit for body shape of the male adolescents. However, it is necessary to develop a pattern system by adding extra ease in setting the center front length.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.8
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• pp.959-967
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• 2011

An importance of design that considers the characteristics of fashion that plays a role of a medium that communicates with customers (and is not simply clothes or products by adding the particular culture factors of a local country to the development of glocalism) is discussed. While the cultural consumption becomes a core key word, the survey of customers is conducted to develop a party-wear design that applies a Korean image suitable for the party culture industry magnified by the young generation's cultural trends. Based on it, we suggest a party-wear design that applies Dancheong's lotus and derive the followed results. The first, one-piece and accessory coordination was the highest by 49.3% for the party-wear coordination and design. In addition, Dancheong was the highest by 16.5% for the traditional pattern (thought to be representative for Korean image). Among the traditional patterns, for a pattern suitable for party-wear, the case applying flowers such as the Japanese apricot flower, lotus flower, and peony was the highest. The second, among the several patterns used Dancheong that was represented by a Korean image of a lotus flower pattern because of the characteristics of strong vitality and blooming in dirty mud was often used for the pattern of clothes. The third, under the motive of the results of the survey and Dancheong's lotus flower pattern, we developed 2 methods of one piece and accessory coordination, 2 methods of top and skirt coordination, and 1 method of jacket and one piece coordination as the party-wear.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.155-172
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• 2009

Naturalized words of clothing terms in Joseon Dynasty could be found on the foreign language study books such as Chinese language study books; "譯語類解Yeokeoyuhae", "譯語類解補編Yeokeoyuhae-supplementary book], and "華語類抄Hwaeoyucho", Manchu language study book; "同文類解Dongmunyuhae", Mongolian language study books; 蒙語類解Mongeoyuhae", and "蒙語類解補編Mongeoyuhae-supplementary book", Japanese language study books; "倭語類解Oaeeoyuhae", and "和語類解Hwaeoyuhae", and the study books of over two kinds of foreign language; "方言類解Bangeonyuseok", and "漢淸文鑑Hanchungmungam". This study focused on the name that was related with headgear, socks and clothing from those foreign language study books. The name which was originated in Chinese language is Cwan, Yanggwan, Dugeon, Samo, Bokdu, Jungja, Okjam, Cwanja, Hwa, Johwa, Unhye, Jobok, Danlyeong, Wonlyeong, Changyi, Dunja, Hosu, Dansam, Dopa, Bigye, Peak, Yodae, and Pumdae. The name which was originated in Manchu language is Camto, Nyeolku, Dalogi, kulimae, and Mahulae. The name which was originated in Mongolian language is Tyeolic, and Dugeule. There are two kinds of names that have been used continuously during the whole Joseon Dynasty. The first ones borrowed just name, for example, Cwan, Dugeon, Mahulae, Okjam, Hwa, Dansam, Changyi, kulimae, and Yodae. The second ones loaned the name and object, for example, Yanggwan, Samo, Bokdu, Camto, Jungja, Cwanja, Jobok, Dalogi, Danlyeong, Wonlyeong, Dopa, Tyeolic, Peak, and Pumdae. It was observed that among Korean names that have been used from the Joseon Dynasty, Unhye, Dugeule, and Hosu were used as broader meaning in the Joseon Dynasty. It was names that had not used during the whole Joseon Dynasty were Johwa, Nyeolku, and Bigye.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.510-524
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• 2007

There is something common between the Korean female Kukkuk and the Japanese Takarazuka Revue in that actors are all females and love is the main theme. Some of the females should play men's roles, so they are described as ideal men and are more manly than real men, and female audiences are attracted by them. It is hard for actresses to play men's roles-they have to stretch open their shoulders, walk with long steps and produce a deep voice. They put on a makeup a little exaggeratedly to perfectly disguise themselves as men and express strong images-some red tone makeup on their face, thick eyebrows with their ends upward, thick eye lines to make eyes seem bigger and stronger, and thick side whiskers. On the contrary, a makeup for female characters is softer to highlight femininity with thin penciled hair parted and braided on the sides of the face. The Takarazuka Revue's students are divided into male characters and female ones from the regular course of music schools, and they select their roles in consideration of their height and range of voice, mainly based on their wish. In case of male characters, they need a long career and verification of ability to be the best. Females playing men's roles and showing their manliness are violation of a social custom standardizing the character of males and females and are the reverse of roles expected by a society or a culture. A world experienced by these plays is a kind of revolt breaking the taboo of the patriarchal system.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.767-777
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• 2012

This study analyzed the system and arguments on the light-pink official uniforms and investigated the backgrounds and principles on the changes of the Sibok system. A study on light-pink danryeong in the latter part of the Joseon Dynasty is a de facto study on Sibok since the name of the light-pink official uniforms (implemented at the time of King Seonjo) changed from Sangbok to Sibok. Sangbok is discussed to explain the name change from Sangbok to Sibok and distinguish their usages; in addition, Gongbok is examined to understand the characteristics of the Sibok system. The Annals of the Joseon Dynasty (books written by scholars) and related laws are used as research materials. The research results are as follows. The name of the light-pink uniforms (a custom before the Japanese invasion in 1592) changed from Sangbok to Sibok at the time of King Gwanghaegun and the light-pink uniform was used as a relatively light formal uniform compared to Sangbok. Sibok was added to the law Sok-dae-jeon at the time of King Yeongjo (because the king respected the custom) and its color rank system was denoted from light-pink and red. Sibok was revised to light-pink, blue, and green under the law Dae-jeon-tong-pyeon that was promulgated at time of King Jeongjo. In the development of the Sibok system in the latter part of the Joseon Dynasty, the color rank system of Gongbok was reflected. The sovereign ideas in the official uniforms in the latter part of the Joseon Dynasty (revealed in the study of the system and arguments on the light-pink official uniforms) were the thoughts that respected the custom and the principles that distinguish ranks to establish a Confucian based hierarchy.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• Cross-Cultural Studies
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• v.33
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• pp.53-75
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• 2013

It is well-known that Chinese saw themselves as the centre of the world until the early 20th century. Since the Opium War 1840, however, belong to the 'general world' the past century. The Opium War made China break away from the Sinocentric spirit. This writing(essay) examines movies from China and the World concern the historical event 'the Opium War.' It also discusses desires that are inherent in narration of each movie and how accord with the real world. The movie The Opium War(1997) directed by XieJin is a work that intended: to wash off the memory of history of disgrace and; to successfully put a disparate piece, Hong Kong, of a puzzle named China together. The Japanese movie Wànshìliúfāng(1943)and The Opium War(1943) were also made for the victory of the Pacific War. They were part of project for uniting the domestic Japan and the colonial outlands - Manchuria and Joseon - that reenacted humiliating history of China, which had been the suzerain of the East Asia The Korean movie The Opium War(1964) was not recalled due to the demand for a lesson from China's painful history, but was recreated by imitating Hong Kong, into where capitalism was transplanted through the Opium War before Korea. History is eventually recalled to the present and the histories, that each different present invokes, are recreated in respective fashion. From their plan to wash off the history of disgrace and successfully return Hong Kong to its native country, China, Japan, and Korea portrayed China, once their cultural suzerain, as impotent East Asia. From their proposition that they should resist the present enemy, the West, together, they imitated the west of the East, which lead the way to achieve modernity. Finally, from their ambition to deviate from their status as developing country, they recalled and reorganized the history, the Opium War.

• Human Ecology Research
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• v.60 no.2
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• pp.273-287
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• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.