• Proceedings of the Korea Society of Costume Conference
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• 2001.04a
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• pp.46-47
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• 2001

본 연구의 목적은 청년기 여성의 국내 및 외국 의 류상표선태과 가정의 가치지향성 및 물리적 가정환 경과의 관계를 조사하며. 상표선택에 따른 상표결정 동기의 차이를 파악하고 의복구매 후 만족도에 영향을 주는 특성을 조사하는 데 있다. 연구방법은 질문지법을 사용하였으며, 조사대상은 서울시내 여고생과 여자대학생 408명이었다(여고생 224명, 여대생 184명). 가정환경변인 측정도구는 정원식의 '가정환경진단검사'중에서 가정의 가치지향 성을 사용하였으며. 사회상승주의, 물질주의, 전통주 의에 관한 내용을 포함하였다. 상표선택은 최근에 구 입한 캐주얼웨어의 상표에 대한 내용과 구입희망 상 표를 조사하였으며, 상표결정동기는 5점 척도의 10 문항을 사용하였다. 가정의 물리적 환경은 부모의 학력, 사회계층, 주거공간을 조사하였으며, 인구통계적인 변인으로 학년, 연령, 용돈을 조사하였다. 조사기 간은 2000년 4월이었다. 본 연구의 결과는 다음과 같다. 첫째, 여고생 및 여대생이 구입한 의류상표는 국 내상표가 24.0%. 외국 상표가 37.5%. 상표명을 기억 하지 않는 상표무관심 집단이 38.5%였다. 구입희망 상표는 외국상표가 48.8%. 국내상표가 26.0%. 무관 심집단이 25.2%로서 구입한 상표보다 구입희망상표 의 경우 외국상표가 더 높은 비율을 나타냈다. 둘째, 가정의 가치지향성은 국내 및 외국의류상표 구입집단에 따라 유의한 차이가 없었다. 그러나 가정 의 가치지향성 중에서 사회상승주의는 구입희망 집 단에 따라 유의한 차이가 있어, 외국상표 구입희망 집단은 가정의 사회상승주의가 높았고, 상표무관심 집단은 사회상승주의가 낮았다. 따라서 사회적 지위 상승을 추구하는 가치관을 지닌 가정의 청소년들은 부모의 가치관에 영향을 받아 외국상표 의류를 희망 하여 의복을 통해 신분상승을 추구하려는 정도가 높은 것으로 해석된다. 셋째, 국내 및 외국 의류상표 구입집단운 부모의 학력, 가정의 사회계층 및 주거공간과 유의 한 관계가 있었다. 아버지와 어머니의 학력이 대졸 이상의 경우 는 외국상표를 더 많이 구입하였고, 부모띄 학력이 고졸인 청소년은 상표 무관심집단이 많았다. 또 상류 층은 외국상표 및 국내상표를 구매한 비율씨 비슷하 게 높았으나 하류층은 상표 무관심집단이 더 많은 편이었다. 구입회망상표와 사회계층 및 주거공간과 는 유의한 관계가 없었다. 따라서 청년기 여성은 가정의 사회계층과 관계없이 외국상표의 구입을 희망 하는 정도가 높다고 할 수 있다. 넷째, 외국상표 구입 집단은 국내상표 구입 집단 보다 상표를 미리 결정하는 경우가 더 많았고. 백화 점에서 구입하는 정도가 더 높았다. 또한 여대생은 의류상표선택과 용돈이 유의한 관계가 없었으나 여고생은 유의한 관계가 있었다. 다섯째. 외국상표 구입집단은 국내상표 구입집단 보다 주위 사람의 상표와 상표의 명성이 더 높은 구입동기로 작용하였으나. 품질, 유행, 할인가, 디자인, 가격, 착용감은 유의한 차이가 없었다. 여섯째, 상표결정동기 중 할인가 구매는 가정의 사회상승주의 및 물질지향주의와 유의한 정적 관계 가 있었고, 적절한 가격도 물질지향주의와 정적 관계 를 나타냈다. 가정의 전통주의는 의복의 디자인과 부 정적인 관계, 상점의 위치와는 정적관계가 있었다. 따라서 전통주의적인 가치관을 지닌 가정의 자녀는 편리한 상점의 위치가 상표결정동기로 작용하는 데 영향을 주는 특성임을 알 수 있다. 일곱째, 의복만족에 동시에 영향을 주는 요인은 디자인, 면안성, 타인의 착용( - ). 상표의 명성, 외국 상표선택, 의복품질로 나타났으며. 6개 변인을 통한 설명력은 24.4%였다. 즉 상표를 결정할 때 디자인, 편안성, 상표의 명성, 의복품질을 고려하며. 주위사람들이 착용한 상표를 고려하지 않을수록 만족도가 높았으며, 외국상표를 선택한 집단일수록 만족도가 높았다. 종합적으로 볼 때 가정의 사회상승주의가 높은 청년기 여성은 외국상표 구입을 희망하는 비율이 높고 부모의 사회경제적 지위가 높을수록 외국상표 구입 빈도가 높았으며. 외국상표를 구입한 여성은 의복구 매 후 만족도가 높았다. 또한 청소년들이 외국 의류 상표를 구매하는 데에는 상표의 명성과 타인의 옷차 림이 영향을 주었으나, 타인의 착용에 영향을 받는 정도가 높을수록 의복 구매 후 만족도는 낮아진다고 할 수 있다.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.142-160
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• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.5
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• pp.840-857
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• 2017

In 1995, the costumes were restored in an unknown woman's tomb at the Jeonju Lee's family cemetery in Gapyeong, Gyeonggi-Do, and there are currently nine items remaining. In this study, we first introduced these 9 relics to academia and analyzed the morphological characteristics of the costumes. We also estimated the time and person of burial compared with costumes unearthed from other burials. Jeogories (short jacket) are all four items. One of these items was unusual in shape, and the upper part of the seop (gusset) was wrinkled and shaped. This type of Jeogori appears only till the 1520s in other tombs. There are also two skirts, one of which is characterized by a superimposed pattern. The top and bottom / middle part of the skirt were rolled up, and the skirt, which was double-rolled up in this way, was first discovered. An analysis of the shape of Jeogori and skirt indicated that the person buried in the Jeonju Lee's family tomb was believed to have survived until the early 16th century. Based on these estimated periods, as a result of looking at the genealogy of Jeonju Lee's family, it was concluded that the tomb was probably a woman named Lee Geum Myeong (李金命) born in the mid-15C and died between the late 15C and the early 16C.

• Journal of Sericultural and Entomological Science
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• no.11
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• pp.87-94
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• 1970

This study was conducted in order to find out the tendency of sericultural woman's clothes. This data was based on random samples of 183 sericultural women throughout the country, and was derived from the investigation of c1othes (western and Korean-style) which had been made during the years, 1967∼1969. The results obtained are summarized as follows: 1. Western-style clothes were about twice as popular as Korean-style, and more evident among the young women. It was also shown that the ratioes mentioned above were gradually decreased year by year. 2. Most popular among the western-style clothes were blouses, one-piece dresses and skirts. Jogori(coat) and Cheema(long skirt) were favorites among the Korean-styled clothes. One-piece dresses showed increasing tendency of use year by year. 3. Costume-made clothes were much more in number than the home-made and the ready-made types. The home-made and the ready-made clothes increased as the ages increased. 4. Western-styled clothes were popular in summer seasons while Korean-styled clothes were popular in the winter time. Among the western-styled clothes one-pieces dresses and two-piece suits were most popular during the spring through autumn. In Korean clothes the Cheema was popular all year round. 5. Western-style clothes were mostly made of polyester and their blends. Silk was the least used fabric. On the contrary, most of Korean-style clothes were made of silk and their blends. The synthetic fibers showed increasing use year by year. 6. Favorite colors were in order; white, blue, brown, and black in western-style clothes; white, blue, green, and gray were in Korean style clothes. Young women teaded to have a wider preference of colors than the older women.

• Archives of design research
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• v.16 no.3
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• Journal of Science of Art and Design
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• v.6
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• pp.249-266
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• 2004

Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

• Journal of Conservation Science
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• v.32 no.3
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• pp.345-352
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• 2016

The purpose of this study is to analyze on the textile used for book covers of "Gukgiboksiksoseon" and "Boepboksajeolboksaek", and slipcase of these books kept in the Oryundae Korean Martyrs Museum in Busan. These records are estimated to be written by Gyeongbin Kim(1831-1907), who was a royal concubine of 24th King Heonjong (reign 1834~1849) of the Joseon Dynasty. The cover textile of slipcase and two books are investigated to be silks by the FT-IR. The cover textile of slipcase is flower patterned satin with silver thread and the cover textile of two books are green and red with Su characters and bat patterned satin. The blackish part of pattern of slipcase is investigated by silver thread by FE-SEM-EDAX. Moreover, by the dye analysis, berberine, brazilin, and carthamin are detected from the cover textile of "Boepboksajeolboksaek". It is indicated that it was dyed with an amur cork-tree, a sappanwood, and a safflower. And rutin which is the main dyestuff of the sophora flower of the pagoda tree was detected from the yellow thread of the cover textile of slipcase.