• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.411-429
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• 2023

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.34-47
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• 2008

Recently, as popular interest in costumes in Korean films and TV dramas has increased, traditional dress in works has re-evaluated with modern perspective of the Western color system. The results of this study can be summarized as follows. First, the traditional dress for women appeared in works after the 2000s has shown features similar in the use of red has appeared high. The high frequency of brown and pink, orange and purple used main colors in Western works. Also, what is the most prominent is the high frequency of use of achromatic colors. Second, the color harmonies of the East and the West have been done through color arrangement. The structure with more than 2-colors has been gradually changing into single or 2-colors, which give simple images to people. Third, in order to portray characters' diverse and psychological situations, Korean works have expressed the symbolisms of colors from the Western perspective. Though red symbolizes theory of Yin-Yang and Five-Elements, passion and authority since 2000 have used red to make main images. Also, pink is used as softness and pure images. Though works before the 2000s showed low frequency of the brown. The achromatic color that it has been applied to various parts. Recently black has been developing into a color symbolizing themes. Given the results from this study, it could be expected in future that the categories of color domains will be gradually extended as it is a trend for the traditional dress to escape from primary colors. On the other hand, achromatic colors that minimal and modern sensibility as well as basic color in fashion, especially the black, will increasingly extend ranges of utility or show a tendency of resolute changes.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.126-134
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• 2014

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950' and 1980', and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950' to 1980', generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960', wide collar and collar strip were trends, but from 70' to 80', they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950' to 80', generally wide and round shape sleeve were used. Also, from 50' to 80', normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.

• Journal of Fashion Business
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• v.1 no.2
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• pp.65-73
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• 1997

Over the past, the Korean Textile Industry has been able to establish as one of the most competent textile producer of the world. Today, however, with rapidly changing market requirements, the Korean Textile Industry is requested to improve systems for highvalue textile's market. In this regard, the purpose of this study is to propose suggestions for the strategy recommendations in the Korean Textile Design, researching on the highvalue-added Como Textile Design in Italy. As we analyzed them, the bases of their global success are as follows. 1) Participating in the making of the Global Trend in textile design market, Italian design companies lead to move international market influentially. 2) Dividing target depending on the country's textile market, Italian design companies build up their global marketing capability to increase design sale's effect. 3) Organizing and Participating in the international textile design show and fair, Italian companies attempt to set up Italian image creation as the global advertising. 4) Ensuring an adequate supply of human resource, Industry, Labor Unions, Government and Academy have a cooperative relationship to assist each other. In the basis of the above mentioned, we can suggest the strategies to accelate improvement and development in the Korean Textile and Textile Design Industry. 1) It needes to establish a monitoring system for current information in the International Textile Design Industry. 2) It needs to start building up Korean textile companies global marketing capability to produce adaptable design in market's request. 3) It needs to study and to find our traditional motifs continuosly for creating modern design following the recent Design Trend. Finally, It needs to have a close relationship between industry and education to establish human resource for the Korean Textile Industry's future success in the global market.

• Archives of design research
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• v.19 no.1 s.63
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• pp.59-68
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• 2006

Scarf has played an important role not only as keeping warm of human body but also as accessory of clothes. These days with taking a growing interest of accessory, scarf had thrown off a subsidiary part and gradually had a leading place which guides the overall mode of fashion. Because scarf design of Korea does not get out of imitation step of foreign countries brands it is necessary to develop the scarf design which can show the cultural identity and originality of Korea in international society. Therefore in this study, I chose lotus flower patterns expressed on Buncheon pottery and Korean traditional patchwork cloth as the subject material of scarves design development, and my intention for this study is to develop scarves designs of Korean images by adding modern scenes. For that, first I researched lotus flower patterns expressed on Buncheon pottery and Korean traditional patchwork cloth. Among those materials, I selected to had been presented modern image. And by using computer design program of adobe illustrator 10.0 I designed the basic patterns of three types and developed the square scarves design and rectangle scarves design with those.

• Journal of Fashion Business
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• v.13 no.5
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• Journal of the Korean Home Economics Association
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• v.48 no.4
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• pp.43-55
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• 2010

With the sex role changes in the post-modern society, men are becoming increasingly interested in appearance and their bodies. Male muscles in particular, which also is a visual manifestation of masculine strengths, has become the focal interest for those men who care about appearance management. The purpose of this study was to identify the extent to which Korean culture emphasizes muscles in defining masculine body, and to understand Korean men's perception of muscle building and their bodies. For this purpose, a content analysis and a survey were conducted. The content analysis aimed at identifying the ideal masculine image represented in the ads featured in male fashion magazines. For the purpose of comparison, U.S. magazines were also examined. The result showed that male models' images shown in Korean magazines were not significantly different from the male images in American magazines in terms of the body size, muscularity, and the nudity of the models. A survey to 339 men aged between 20 to 50 living in Seoul area was conducted to explore the motives of muscle building, the criteria men use to evaluate muscled bodies, and the influence of muscle building on body satisfaction. Factor analysis and analyses of variances followed by Scheffe multiple comparisons were conducted for data analysis. The results showed that physical appearance improvement is one of the motives of muscle building especially for younger men. Muscle building in general is found to contribute positively to men's body satisfaction.

• Journal of the Korean Society of Costume
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• v.18
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• pp.291-306
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• 1992

From the mid-1980s '91s, remarkable Ethnicism and Primitivism in the Europe fashion trend could be represented as an exotic taste longing for secenery and emotion of non-europe area in the West. These phenomenon could be found out in connection with Acculturation, which means when two different cultures or more were contacted they were identified or merged in process of diffusion and change of them. This point of view was the culture anthropologic one that make a comparison and analysis of sameness and difference between cultures. The purpose of this study was to illuminate exotic taste represented in costume in the cluture-anthroplogic aspect, to compare with beauty of costume that each culture of costume and the meaning of the times due to those differences. an aspect of the exotic taste and character in the western costume that was inspected by dividing into 'Primitivism', 'Oriental element' and 'the element of a national costume in the East European bloc ' were as follows; First, Primitivism had something in common with what was pursued in the trend of Modern Art, through the late 19th century to the early 20th century. In fashion fettered by technique, the creation expressed in a free was and showed simple beauty of costume. At the same time, pure emotion expression, creative power and witty strong expression give the cognition of transcendency breaking the routine and the cognition of complexity of an included conception. Those are garments showing not only the primitive thought and mysticism but a fancy, an abstraction, and a life. Colors and accessaries which described nature and matched simple costume composition to the expression of various material or patterns transmitted the image of the primitive strongly. Second, "Drental element" which had an effect on western custome historically in a long time had outstanding luxurios adornmental beauty of custome. Extending from the Arab stated India, China, Korea, Japan, each national costume with a gay national culture became one of motif. Various ornamental factors expressed on Trapez Line, Sime Line and Drape, or Raied style, which did not restrict the body. Those were not only functional Easy Look, but were also satisfying human's ornamental desire. Third, national factors in the East European bloc are theme that begins to be embossed in the late 80's. In view of a political change and cultural situation with a double character of Europe and Orient, it was estimated that national factors have great importance in fashion. Item concerned with new concern appeared at Autumn & Winter collection. It shows elegant and graceful beauty of costume by adding a fur or jewel to simple form. These national factors in the East European bloc are simple form, but shows the difference in more cubic formation than form expressed in Primitivism or Oriental factors Exotic taste appeared form 80's to 91's, is thought to create an forgotten romantic emotion and traditional fashion

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.51-61
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• 2015

This study examines the types and forms of underwear worn during the Joseon Dynasty period, and the purpose of this study is to apply the Joseon underwear design elements into designs of modern clothes, and make clothes that have practical use. In addition, it examines natural dyeing in the production of works, using a dye that contains tannin to increase color fastness. This study, first, looked into the types of female underwear during the late-Joseon Dynasty period through literature research and literature study. Second, the study chose artificial silk material (rayon), which was applied with dye containing tannin, and then with indigo (Jjok) and a different dye. Also, the study tested color fastness by washing the material, and rubbing fastness was tested if the material was either dyed with indigo. if it was dyed first with dye stuff containing tannin, and then with indigo dyeing color. Third, using the underwear types in the Joseon Dynasty period, the study developed and produced a dress, a skirt and pants that could be worn in modern life on a daily basis by applying Mujigi-chima (underwearskirt), Dan-sokgot (slip), Salchang-gojaengi (loosedrawers) and Sok-baji (bloomers) forms. Dresses applying underwear skirt using naturally-dyed artificial silk, dresses applying Salchang-gojaengi, dresses applying Dan-sokgot, skirt without a crotch designed in the form of pant swith an open crotch, and pant skirt with a crotch-applying pants with an open crotch were produced. In the future, hopefully, various studies of collaborations of Korean traditional clothing, and natural dyeing will continue to kee) the tradition alive.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.17-29
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• 2016

Though the po as the basic apparel of the Joseon Dynasty period was various in kind as it was worn by people of different times, places, duties and statuses. it was unified as Juui with apparel reform at the late Joseon Dynasty. Though people of today have good feelings about hanbok, they rarely wear it because of its uncomfortable wearing sensation and the fastidious care after its use. However, efforts should be made to develop designs and to improve its use convenience through the study on the Korean traditional clothing now that overseas examples exist in which other countries' traditional clothing was successfully popularized. In this regard, targeting the children in their preschool ages when their socialization arises along with their physical development that have great influence on their adulthood, this study aims to suggest a design of overcoats that combines the various characteristics of the po in Joseon Dynasty period with those of the modern children's overcoats so that they might have positive attitudes towards Korean traditional clothes, and to contribute to its popularization. The study applied the characteristics of po to the design of children's overcoats so that children and their parents could choose to wear them with little repulsion. In this way, it attempted to resolve the inconveniences of the Korean traditional clothes and make the general public have positive perception about them. It is expected that the continuous development of the design that combines the Korean traditional clothes and children's clothes will contribute to the popularization of the Korean traditional clothes.