• 한국의류산업학회지
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• 제11권5호
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• pp.691-700
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• 2009

The purpose of this study is textile design development of the golf wear for international game in which it can inform the status of Korea through the visualization of the national symbolic image, and for this we developed the motive of modern Taeguk motive. According to an increase of popularization of the golf wear and participation of international game, the status of our country needs to be enhanced by developing the motive which the Korea symbolic pattern applied and applying to the golf wear, and it needs to contribute to the fashion industry through commercialization. 'Taeguk' is love with ideological concept and the Korea Founding Principles. The symbolic characteristic in which it represents the Korean image is clear. We presented applicable modern direction based on the figurative features and meaning of traditional pattern. The result of modernized Taeguk motive application to golf wear, effect of our country symbol showed up on a large scale in case of using single motive. And the pattern in which many arrangement methods are applied was more effective that it applies as the part of the detail than the front construction. In addition, we consider that It makes a large contribution to the fashion industry's development by application of fashionable pattern added in applied motive to golf wear.

• 복식
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• 제64권4호
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• 한국의류학회지
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• 제31권9_10
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• pp.1408-1417
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• 2007

In Korea, to deal with the housing needs of the elderly, the government operates free nursing homes and residential homes. And to deal with the needs for daily necessities, imported products or products for the disabled have been supplied for the elderly. The government has recognized the importance of silver industry in this rapidly aging society and has established strategies to vitalize industries related to seniors to deal with the seniors' need for food, clothing, and shelter. This study examined the necessity of nursing home gowns, and the development of nursing home gowns that are environmentally friendly, beautiful and functional for the new silver generation. For this study, literature review and Internet search were conducted regarding the status of silver fashion, necessity of nursing home gowns, emergence of new silver generation and change in lifestyle, and value and utilization of natural dye and traditional patterns. To produce nursing home gowns, fabric was dyed using fermented indigo dying, and 3 styles of nursing home gowns for each gender were designed in consideration of seasons. Lastly, these gowns were evaluated by fashion experts, medical personnel, hospital gown and silver wear experts, and natural dye experts. The results showed that the traditional Korean designs developed in this study were excellent and the fermented indigo dye was appropriate for the nursing home gowns. The development of nursing home gowns in this study will be utilized as basic material for the development of silver wear and nursing home gowns to improve the quality of life for the seniors.

• 한국의상디자인학회지
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• 제5권2호
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• pp.47-55
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• 2003

This study was aimed at analyzing the woman costume presented in the korean modern novel by continuity, mixture, and discontinuity. For the costume analysis, the korean modern novel written from 1910 to 1945 were used. The results of this study were as follows: 1. Continuity: It doesn't mean discontinuity from the past but succession and development of the past, which explains about the costume culture for the period from 1910 to 1919. During this period, people tended to wear korean traditional costume in an effort to maintain their national identity. 2. Mixture: It means the effort to synthesize and develop past, present and future, which explains about the apparel for the period from 1920 to 1937. During this period, western culture was introduced much into korea to be established as part of our people's life. The new generation of women who studied abroad introduced the western costume throughout the cities, while the convenient western costume served to improve korean traditional costume. 3. Discontinuity: It means a conscious departure from the past as well as a critical reaction to the past, which explains about the costume culture for the period from 1938 to 1945. For this period, western costume was popular among new generation of women, while it was more diversified with increasing population wearing them. Many country men and women proceeded to wear the western costume.

• 복식문화연구
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• 제6권3호
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• pp.111-125
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• 1998

What human beings wear is closely related to how they conceptualize their bodies and how they classify the group they belong to and the way they wear their cloth s an important cultural element that shows wearers' awareness and social relationship. Especially, underclothes reflect unrevealed cultural inside of the society more abundantly than outer wear do. Through such characteristics of underclothes, we are able to better understand inherent order of culture. This study si to understand the characteristics and changes of Korean culture by reviewing the convention of underclothes wearing that takes important role in clothing without being explicitly revealed. For this study, in addition to biblical review of under clothes of traditional societies, a total of 301 college students aging from 19 to 28, who are the most open to accepting new cultures and changes, residing in Seoul area were participant. Questionnaire consists of open-ended questions of underclothes terms, kinds, why they wear, items of wearing, how they obtained, how they take care of, etc. In conclusion, changes in cultural meaning of underclothes analyzed through convention of underclothes wearing are as follows; 1) changes in wearing pattern implies changes in functions of underclothes and changes in members' roles and values in a society; 2) changes in recognition of underclothes are related to the changes in awareness of sex; 3) consumer behaviour of underclothes represents a part of information culture; 4) changes in the pattern of maintaining underclothes show that differentiation of sex role in household tasks is decreased.

• 복식문화연구
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• 제28권4호
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• pp.420-428
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• 2020

This study analyzed the expression of hanbok in online fashion styling games, and examined the main themes of and user reactions to hanbok fashion styling games through semantic network analysis and sentiment analysis. KrKwic, Textom, and NodeXL were used for data collection and analysis. The findings of the study are as follows: First, depending on the designer's expressive method, hanbok fashion styling games provide typical traditional hanbok, modern hanbok, and dress-like fusion hanbok, demonstrating contents with various themes for different sexes, classes, and situations. Second, as a result of analyzing the themes of hanbok-related styling game contents, it turned out that the main themes are tradition, color, historical drama, fusion hanbok, holiday, and love. Most of them produce modernized hanbok that reflect the situation and utility rather than strictly traditional ones. Third, as a result of analyzing user reviews of hanbok styling game contents, positive factors mostly turned out to be the satisfaction of the hanbok contents, with the users also showing positive intent to wear hanbok. Through this, it was found out that hanboks portrayed in game contents could potentially cause the user's positive intent to wear hanbok. Negative factors turned out to be the discordance between the intrinsic image of hanbok and the game character's image.

• 복식문화연구
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• 제5권2호
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• pp.217-244
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• 1997

This study is about the Korean Jockey's uniform, etc. and horse riding costume as the traditional riding culture grows. I studied informations from the Korea Racing Association's equestrian park, equine museum and Seoul Racecourse Trainers & Jockey's Association. The international regulations of riding costume are compared with Korean regulations, and I consulted some reference books, materials of sports wear and catalogues of some brands regarding horse equipment. The contents includes ; 1. Analysis of informations about horse racing 2. Study of racing, for detail comparative analysis on the following aspects ; -Symbolism, riding costume of jockey, that is, color·pattern·and some formal designs. 3. Suggestion for reasonable and fashionable riding costumes. In the aspects of design, there have not been any historical records, and material adjustments about riding costume in Korea. Therefore we should make more efforts to do developing our traditional costume culture. The result o this study is as follows ; 1. Riding is the sport of etiquette and manners. 2. Most of riding wears are the casual wear centered foreign licenced brands. 3. Study and investment upon specialized material development and processing technology are in demand 4. The need of the consumers are to be satisfied by the quality improvement of the native products design. In addition, we perform to horse racing which is fine play and leisure sports in current society. The horse riding will be a popular sports such as golf, wind surfing, skiing, etc. with the period including lots of kinds of leisure.

• 한국의류산업학회지
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• 제19권1호
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• pp.1-10
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• 2017

The purpose of this research is to industrialize and to localize traditional culture resources of Andong by developing festival costumes related to 'Andong Mask Dance Festival'. We tried several methods to deliver meanings and images of festival costumes, as followings. Frist, from April, 2009 to October, 2012, we created the new design of the festival costumes after consulting with 7 festival experts about the conditions and characteristics of 'Andong Mask Dance Festival'. The festival costume design is characterized by the detachable parts of clothing based on Han-bok style, the front and back of bodice, right and left side of both sleeves, and pockets, which can be tied up with strings. Therefore the consumers can choose and attach the part they want. Secondly, the newly created festival costumes were evaluated appropriately to the consumer's satisfaction, implementation, practicality, and long-term development possibility according to the survey of 85 participants who were, in fact, wearing the festival costumes in the festival. The results are as follows: Frist, festival costumes are based on Korean traditional costumes, and it appears wearing object as festival costumes. Secondly, traditional beauty and modern beauty are well matched up, so men and women of all ages are possible to wear. Thirdly, size of costume can be controlled, so it's easy to wear. Finally, construction method is very simple. The possibility of long-term development by various material development is needed.

• 한국의류학회지
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• 제30권4호
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• pp.623-632
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• 2006

This study discusses the traditional costume of Korea and Japan and cognitive factors affecting its recognition by conducting a survey on both Korean and Japanese students so that comparative analysis of the differences about whether to rent or own traditional costume and about whether the students surveyed have visited the other country reciprocally, can be made to set the future course of the traditional costume which have gradually been worn less frequently and favored by less people. College students of Japan and Korea were chosen for this study and asked to fill in a questionnaire. 491 respondents were analyzed using SPSS10.0 for frequency analysis, factors analysis and t-test. Findings of this study are as follows: Firstly, there were 7 factors affecting the Korean student's recognition of Hanbok while 6 factors involved in Japanese student's recognition of Kimono. Korean students thought highly of the traditional costume and yet had less knowledge of it compared to the Japanese students. Secondly, analysis of the student's recognition of their counterpart's traditional costume showed that there were equally 4 factors affecting the student's recognition. Students found the traditional costume difficult to wear and uncomfortable when worn. Japanese students regarded Hanbok as an abstract form of the traditional Korean culture while Korean students viewed Kimono as a realistic form of something concrete. Thirdly, analysis of the differences about the recognition based on the student's owning or renting the traditional costume. or visiting the counterpart's country, showed that students owning the traditional costume were more positive about the traditional costume and well versed in it. And students having visited their counterpart's country thought more favorably of the traditional costume of their counterpart.

• 복식
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• 제56권9호
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.