• 한국의류학회지
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• 제48권6호
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• pp.1226-1240
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• 2024

The purpose of this literature review is to identify the types of cotton fabrics recorded in the accounting record documents of Song Hwa-seon, a wholesaler in the early 20th century, and to clarify characteristics of each type. First, the changes in the cotton industry in the late Joseon Dynasty were examined through ancient documents and previous studies. Next, the types of fabrics that could be classified as cotton fabrics in Song Hwa-seon's Janggi were extracted, and the frequency of each type was analyzed. Finally, the characteristics of the cotton fabrics recorded in the Janggi were examined through literature and newspaper articles published at the time. The results of the study are as follows. First, the cotton fabrics recorded in the Janggi could be classified into 12 types, with Gwangmok being the most frequent, and Ok-yangmok being the second most frequent. Second, it was confirmed that a significant amount of Western and Japanese cotton textiles, were distributed in the modern Korean market. Third, while imported cotton fabrics of broad width were popular in the early 20th century, it was confirmed that the demand for traditional cotton textiles, characterized by a narrow width was also high in the domestic market.

• 복식
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• 제64권7호
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• pp.45-56
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• 2014

Embroidery is called 'Ja-Su' in Korea. The purpose of this study is to present a method that utilizes the technology of traditional Korean embroidery to get a genuine feeling of tradition. This study was conducted in the following manner: first, Previous researches and references were used survey traditional embroidery techniques. Second, by using traditional embroidery techniques, the study attempted to develop a design of embroidery household Items with modern sense and practicality. The results of this study are as follows: This study has developed and produced embroidery household items that can be used in modern life by using traditional embroidery techniques. A total of 10 kinds of miscellaneous everyday life utensils and interior pieces were produced. Materials used in the embroidery production were made out of natural fabrics, such as cotton (Kwang-Mok, Mu-Myung), linen, cotton thread were used for a practical reason for practical reasons (i.e. being easily washable). Embroidery techniques used in this study were straight stitch, outline stitch, satin stitch, separate stitch, french knot stitch, long&short stitch, brick stitch, chain stitch, couching stitch, Pad stitch, and pine-leaf stitch. In order to further develop traditional embroidery, a technique passed down from the ancestors, it needs to change to become more suitable for modern life while maintaining the tradition.

• 한국의류학회지
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• 제36권1호
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• pp.99-111
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• 2012

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Horniman Museum in London. The Museum holds eighteen items of Korean dresses donated by Mrs. C. de J. Luxmore in 1948 and by Mrs. Bowra in 1953. Male dresses consist of white silk outer robe (durumagi), a pale violet silk waistcoat (jokki), a jade green silk jacket (jeogori), pale yellow silk trousers (baji), a pair of ankle bands (daenim), a cotton waistband (dae), a silk purse (jumeoni), a rattan under-vest (deungbaeja), a pair of rattan wristlets (deungtosi), a top hat (gat) and a skullcap (tanggeon). Female dresses comprise a jade green silk jacket (jeogori), an ivory silk skirt (chima), a light blue silk petticoat (sokchima), two kinds of white cotton trousers (sokbaji and soksokgot), a pair of silk wristlets (tosi) and a pair of padded socks (beoseon). A Korean dress collection of the Horniman Museum shows a set of ordinary dress items worn by a married couple in the 1930s and the 1940s. Of these items, a silk petticoat (sokchima) and a rattan under-vest (deungbaeja) can be highly evaluated as object resources in the history of Korean dress. The petticoat is a rare and valuable example that represents an early type of modern petticoat that has replaced a traditional petticoat (dansokgot). The rattan under-vest has square neckline and two tiny sleeves similar to a Western cap sleeve. This kind of under-vest is a transitional form shown between under-vest similar to the Korean waistcoat (baeja) and one similar to the Western waistcoat (jokki).

• 패션비즈니스
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• 제1권3호
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• pp.19-34
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• 1997

The role of fashion image in modern society is being diversified from product planning to consumer satisfaction. In this research, after surveying female college students, the diversified modern fashion image was patterned. On the analogy of the relationship between these patterned image and design factors, the following conclusion was obtained. 1. The most popular styles are jacket and pants suits, three-piece outfits, tight mini-skirts and X-silhouette. Little decoration is used in general. simplicity is shown as trend by utility fabrics in single color-black, brown, beige and blue-with no pattern. Various materials such as wool, cotton, wool or cotton blended with other materials, silk, satin, knit, lace, vinyl and leather are used. 2. Fashion image is divided into four factors; factors that show fad, dignity, activity and simplicity. 3. Factors that show fad; style of tops, material of bottoms and length of bottoms reflect fad. blousons, three-piece outfits, pants rather than skirts, X-silhouette and mini-skirts are prevailing. Vinyl, leather, knit, lace and satin are the materials well used. 4. Factors that show dignity; Style and material of tops, the way of top and bottom pieces are matched and length of bottom or pieces reveal the characteristics. Jackets, blouses, half-coats and one-piece outfits rather than two-pieces are popular. Tight skirts in natural or midi length or pleated skirts are common. Wool, wool blended with other materials, leather and X-silhouette are design factors that reveal dignity well. 5. Design factors that show active image; Straight pants, three-piece outfits, T-shirts, shirt -blouses, vests, and blausons are popular. Knit and lace are used for tops, leather and vinyl are used for bottom pieces and cotton is widely used. Y- or H-silhouette are used to show active image.

• 한국의류학회지
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• 제33권8호
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• pp.1203-1214
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• 2009

The theory of household arts and practical acts are two traditional mainstream topics of official South Korean secondary home economics education. The clothing and textile education within the Secondary School Home Economics Textbook (1948) is various and practical. The first year textbook discusses the symbolism and maintenance of uniforms that provides information on the characteristics of cotton. Clothing and textiles are covered in 26 pages out of the 76 page book. The second year textbook includes the theory of color and form, along with the characteristics of flax and silk. Clothing and textile education is covered in 33 pages out of the 97 second year textbook. The third year textbook deals with the characteristics of wool, manufactured fibers, cross weaving, removing stains, clothing arrangements, and equipment; 5 chapters (56 pages out of 137) are spent on clothing and textiles. The fourth year textbook introduces the history of clothing, laundry principles, dyeing, bedclothes, and bed accessories; 4 chapters (63 pages out of 125 pages) are spent on clothing and textiles. The Secondary School Home Economics Textbook (1948) is highly extensive and profound in depth. It is comparable with modern college or specialized high school level clothing and textile education in terms of clothing materials, clothing maintenance, color theories, and dyeing.

• 한국의상디자인학회지
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• 제18권2호
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• pp.161-175
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• 2016

Sensitivity has become more important in relation to design in a changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China the discussion had begun. In Korea where the first scholarly discussion on aesthetics had begun around 1929, more and more rigorous and theoretical discussions emerge nowadays. Korean beauty consists of unplanned Beauty and unplanned planned Beauty. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes the nature as it is and Japan values the artful decorative elements. In modern Korean fashion, the characteristic Korean aesthetics of unplanned Beauty appears in the various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and simplified silhouette. Also, there are plays on balance and proportion using straight and curves lines and variegated colors and creative printing, intentional asymmetry, and destrution.

• 복식
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• 제60권9호
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• pp.77-94
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• 2010

It was the era, from 1876 to 1910, that some dramatic changes, including an influx of foreign dyes and the beginning of the modern dyeing manufacture, happened in Korea. This paper explores what dyes were sold in the market in this period, who was the main seller of the goods, and how the dyers produced their products. A wide range of natural dye stuffs coexisted with the various kinds of aniline dyes, alizarin dye and synthetic indigo in the market. Coloring materials had been sold by hwapi-jeon, a group of official merchants who acquired a privilege of monopoly from the government. However, the dyes were also traded by sang-jeon and yakguk merchants in the nineteenth century. Most of the synthetic dyes sold in Korea were produced in Germany or in Japan later, and imported in large amount by Chinese, Japanese and German merchants. Yet there also existed Korean merchants and peddlers who sold the goods to the local consumers. Dyers were male and female who belonged to the middle class. They received the orders and payments from the government or merchants. Not only did they dye textiles, threads, cotton, paper and leather, but they also redyed clothes. Indigo dyers were differentiated from other dyers. Modern dyeing manufacture, which was presumably forced to keep pace with the productivity of the weaving process, appeared in the 1900s. It was a branch of the modern weaving manufacture.

• 한국의류학회지
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• 제46권1호
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• pp.33-48
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• 2022

This study was performed to compare the color emotion and preference of Koreans and Chinese for a two-color combination by dyeing cotton fabric with persimmon and indigo and to establish prediction models of color preference. Nine specimens prepared by combining two different colored fabrics (persimmon and indigo) were evaluated for color emotion and preference by Korean and Chinese groups of female college students. Koreans described most specimens as natural and traditional, whereas the Chinese described them as more pleasant and elegant as well as warmer and lighter than Koreans did. The contrast tone was the most preferred combination by both groups, whereas it was perceived as more modern and less warm by Koreans. Relationships between physical color variables and color emotions were quantified; these relationships were applied to establish a prediction model of color preference with tone combination types for each group. These results could help in making the design of fashion textiles more preference- and emotion-oriented for Korean and Chinese consumers.

• 복식
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• 제60권10호
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• pp.80-87
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• 2010

The purpose of this study is to develop cultural products containing Korean beauty with modern sense by applying quilting with dyed threat among Korean traditional quilting works. Quilting with dyed thread using various colored thread expresses curve, straight and oblique lines harmoniously, is mainly used to make household goods such as a pouch, a spectacle case and a quilting pocket and a circular pattern, a cross pattern and a geometric pattern are shown in this kind of quilting. As for sewing method, half backstitch and full backstitch are used, and products made by this method are pouches stuffing pads in cotton or silk and quilting it finely to make patterns with various colored threads of stuffing cotton between linings and spectacle cases, a packet of needles and case of spoon and chopsticks which give various feelings according to arrangement of colors. Design of cultural products by applying the beauty of curves of hanbok, sleave-seam of jeogori, trimming line of dangeui. We expect that various cultural products with Korean traditional beauty and modern convenience will be developed continually by introducing the artistic strength of quilting with dyed thread to practical life.

• 한국의류학회지
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• 제25권8호
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• pp.1408-1419
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• 2001

The purpose of this study was to investigate the fashion trends of last three years and how the trends were imaged by the structural characteristics of the fabrics. The characteristics for 897 fabrics were analyzed from four kinds. eleven volumes of fashion trend magazines. From these magazines, three panels categorized by their frequencies as nine images such as natural, innocent, ethnic, childish, casual, classic, modern and technical, Sub-images of each image such as rustic, irregular, decorative, etc were also categorized. For the each image, fiber contents and structural characteristics of weave type, weight, density, yarn size, twist and fabric finishes were investigated in terms of frequency, range and mean, Results showed that chiffon and organza seemed to have very specific images and used to represent specifically the romantic or ethnic images; whereas voile and jersey was used to represent various images. For S/S seasons, most popular fiber type was cotton. The weave type was not the important factor to give variations in images; plan weave exclusively used irrespective of image. For the romantic, ethnic and innocent images, rather light fabrics were used. For the childish and natural, medium weights, and for the technical, modern and classic images heavy weight fabrics were used. Vaious finishes were employed to represent specific images.