• Journal of the Korea Fashion and Costume Design Association
• /
• v.26 no.1
• /
• pp.77-98
• /
• 2024

The mourning attire worn by the Sangju (Chief Mourner) during Confucian funeral rituals is known as Gulgeonjebok. It is comprised of Gulgeon, Sujil, and Hyogeon on the head, and Jungui underneath. On top of the Jungui, the ceremonial garments called Choeui are worn, along with Choesang. Yojil and Gyodae are then tied around the waist. Mahye and Hangieon are worn on the feet, and a walking stick made of bamboo, paulownia, or willow is carried. A needlework master, Choe Onsun, who was designated as a Holder of Intangible Cultural Property of Jeollabuk-do on November 27, 1998, is recognized for her efforts in restoring and recreating the forgotten Gulgeonjebok. Thanks to her endeavors, the period, regional, and cultural characteristics of Gulgeonjebok in the Jeolla Province have been preserved. This study aims to examine and reproduce characteristic items of Gulgeonjeboks handed down by a needlework master, Choe, by conducting an empirical study on the dimensions and schematization of the Gulgeon, the method of cutting, and the sewing process. The empirical research on Gulgeojebok is expected to further enhance traditional sewing skills. It will also serve as a foundation for deepening the level of research on traditional dress and sharing traditional cultural heritage.

• Journal of the Korean Society of Costume
• /
• v.67 no.1
• /
• pp.147-168
• /
• 2017

This study examines the types and characteristics of women's garments excavated in the early Joseon Dynasty before 1592. The study sorts out headgear, jacket, skirt and trousers, and coats from the historical texts in the early Joseon Dynasty and excavated women's wears in the fifteenth and sixteenth centuries, and analyzes their textiles and patterns. The Joseon women's garments convey several features. They are wide across the chest and square shaped collar with virtually straight sleeves. While their breast-ties are extremely little for the size of clothes, they do not have any inner-tie. They have broad and short dongjeongs which seem to be hard to be adjusted. There are a variety of headgear. Jang-Jeogori slit down in both sides. The Jeogori after the seventeenth century transformed a more practical form of a fitting dress to an individual body in comparison with the sixteenth jeogori. It is identified that the fabrics in the early Joseon period were woven more diversely and colorfully than the late Joseon period. Most of the excavated fabrics in the sixteenth century were in silk. Materials for adornments before 1592 were not much diverse and their designs mostly contained patterns of lotus flowers, patterns of cloud and treasures with oblique lines. The colors are mainly brown, navy and green. The Joseon women's clothes were comprised of skirts with folded hem, coat with round collars, wide leg pants, Jangot, long-sleeved coat with folding collars, and quadrangular pieces of cloth in various sizes, or mu and so forth. Joseon women's clothes, like men's wears, partake of active functions in their headgears, wide leg pants, styles in short front and long back, and coat with round collars.

• Fibers and Polymers
• /
• v.6 no.1
• /
• pp.28-34
• /
• 2005

The purpose of the research was to examine the effect of three different levels of enzyme treatment on the physical characteristics and the end-use suitability of the lyocell fabrics made with four different types of commercial wood pulp. The appropriate enzyme concentration for obtaining an optimum as well as consistent physical characteristics and fabric hand trait was 3 g/l for the concentration levels tested in the present investigation. Weight loss was more affected by higher enzyme con­centration than other physical properties. H2 was least affected by enzyme treatment for all three physical properties and fab­ric hand. 5 g/l concentration exhibited little difference from 3 g/l in the physical characteristics, whereas the KES-FB values indicated a significant loss of fabric hand in most PHV s with the 5 g/l concentration level. Among different garment parame­ters, all four fabric types were relatively inappropriate for the men's slacks (MS) fabric due to the lower hand value of koshi required by the MS parameter. However, despite the relatively low koshi values, high fukurami values required for men's dress shirt (MWDS) resulted in the highest THV among the four garment parmeters. The four fabric types, which represent the usage of four different wood pulps, in general seem to exhibit a higher applicability to women's winter thin dress (WWTD) than women's winter suit (WWS) garment parameter.

• The Research Journal of the Costume Culture
• /
• v.22 no.2
• /
• pp.209-224
• /
• 2014

This study aims to compare the ease of shirt patterns in the men's wear market that have been constantly developing, and to analyze the fitness and appearance through the 3D virtual try-on system. The study selected three industrial patterns and two educational materials of classic-fit and slim-fit shirts for a total of ten items. The experiments involved virtual wearing, a stress contact point perspective map, and appearance evaluations. First, the ease differed significantly in the chest, waist, and sleeve cap height according to the patterns. Second, based on the stress, contact point, and transparency, there was ease in the order of Nam, D-brand, J-brand, Park, and S-brand in the classic-fit shirts while the order of D-brand, Nam, J-brand, Park, and S-brand resulted in the slim-fit shirts. Third, in the appearance evaluation, higher points resulted in the order of J-brand, Park, S-brand, D-brand, and Nam in both classic-fit and slim-fit. The results showed that proper ease differs greatly by shirt-fit and target age. Also, the shirts with more ease tended to be evaluated less favorably in the appearance evaluation. Based on the results, the study suggests that the proper ease in chest circumference is 18cm for the classic-fit shirts and 6 cm for the slim-fit shirts.

• Journal of the Korean Society of Costume
• /
• v.59 no.8
• /
• pp.49-65
• /
• 2009

As basic materials in this research, 874 pieces of engraving that recorded the garment produced by diverse authors in the 17-18th century were collected among the collections of male and female garment in the engraving kept by National Library of France and 216 pieces of engraving were classified among them to observe justaucorps as stated in the materials. Since type of justaucorps in the 18th century can be classified by difference in shape and change through the above engraving materials in large quantity and the shape and composition can be compared and analyzed with other materials such as picture, stored garment, written materials without difficulty, the chronology can be composed by single type of justaucorps. Intending to understand the change in composition caused by type classification and pattern making as per analysis of type property of justaucorps, the men's upper garment in France in the 18th century. Checking change in design per from and materials, justaucorps of 1680-1700s was in silhouette where waist in the length above knee was adhered and slightly spread to lower part. In the type of 1710-1750s, waist adhered remarkably and many pleats were made under waist to produce volume of form that spread to lower part like skirt. In the type of 1760-1780s, straight silhouette was attached to whole body and end of front adjustment in slant line turns to rear part. The developmental aspect of construction can be checked by making pattern. Changing the cutting line of body plate to smoothly connect section and to try to adhere to the body, the development of simpler and delicate pattern production technique was confirmed.

• Journal of Fashion Business
• /
• v.16 no.4
• /
• pp.107-122
• /
• 2012

This thesis takes it an aim to analyze and compare the visual images which results from attaching the voluminous changes of the waist gathering to the basic Sarrouel pants, one of the Islamic costume, and also from the three body type influenced by these changes. The method of the investigation was to select basic designs of the Sarrouel pants, then the three pieces of the experimental clothes called pattern 1(50%), pattern 2(100%), and pattern 3(150%) were made respectively. The 3 types of the adult women were selected as models in a way to represent the S(S1), M(S2), L(S3) the female body indices of the K. S. The models wearing the 3 types of experimental clothes were taken pictures from the front, side and back, which the pictures were used for the evaluations for the visual effects. For the evaluation, the questionaire from 12 to 18, associated with the body types and images respectively were completed and collected in an investigative way. The visual effects by the waist gathering and body size are composed body and image emerged the four factors. Conclusively, the volume of the waist gathering gives a benefit only in terms of the appropriateness in which the voluminous gatherings compensate for the defects of the body type while too much gathering leads to the negative effects. The visual effects from the increased gathering gives the impressions of the more activity with the snugness as it decreases the feminine effects. The evaluation indices like the stiffness or the masculine images might be more or less predominant in this case. This might be ascribed to the fact that the Sarrouel pants were originated from the men's trousers in a real sense.

• Journal of Fashion Business
• /
• v.5 no.2
• /
• pp.35-48
• /
• 2001

The purpose of this research is to understand the importance and structure of underwear which is the closest cloth to the body. Scope of this research is from middle of 19th century to the beginning of 20th century. Firstly, I studied background of the times and change of women's status and duty. Secondly, I examined the outer garment closely by the ideal beauty of each period based on the study, and thirdly I looked into structure ways of underwear. Then lastly, I took a close look about the relation of outer garment and underwear, comparing with and researching both. I studied this research, focusing on corset, crinoline and bustle based on main characters such as reform and transform among several functions of underwear. The research results are such as follows. First of all, when women's social and economic status was subjected to men, women had worn corset and fashionable dresses even though there was many object movements and vices in women's garment. Secondly, according to those movements, the ideal beauty had changed little in the same sort emphasizing on breast and hip. Thirdly, structure method of underwear changed by ideal beauty and shape of outer garment. Due to increasing sports participation, improvement of women's position, achievement of practical use, women used more drawers and stopped wearing hoop. And the weight of underwear like combination and suspender attached to corset had decreased and advanced into the more practical way. Because of industrialization, function seemed to be granted by technology development, social position change of femininity.

• The Research Journal of the Costume Culture
• /
• v.9 no.4
• /
• pp.574-591
• /
• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.1
• /
• pp.171-187
• /
• 2016

The study performed a comparison analysis of market brand patterns for slim-fit dress shirts and analyzed the body surface development figure of men in their 40s using 3D body scan data and developed slim-fit dress shirt patterns suitable for middle-aged men. The sizes of slim-fit dress shirt patterns showed a slight difference depending on brand. The overlap map of slim-fit dress shirt patterns for brands demonstrates how difference of one-dimensional sizes reflect on two-dimensional patterns. This map provides useful information for pattern design and allows and easy recognition of pattern size differences. A try-on system evaluation through 3D-Simulation allows a grasp of the fitness of neckline and size tolerance of under the arms in front, the silhouette of side lines, and overall fitness in front that also allows analysis of the front/back balance of a shirt in side, the size tolerance proportion in front/back, and the fitness of the arm-hole line. Thus, we obtained try-on results that were equivalent to wearing actual clothing. According to the drafting size suggested in the developed final pattern, the total width was 'C/2+5.5cm', and the front was set at 1cm bigger in the size difference of the front and back. The width of the front neck and the back neck was set identically at 'C/12', while the width of the front neck was set to 'C/12+1.5cm'. For the armhole depth, we added 'C/4+2cm', and '0.5cm and 1.5cm' for the width of the front and back to anthropometry. The results of the try-on evaluation through 3D-Simulation indicated that the fitness of the final slim-fit dress shirt pattern was superior to available slim-fit dress shirt patterns on the market and evaluated as superior to the types for middle-aged men.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.27 no.11
• /
• pp.1198-1207
• /
• 2003

The purpose of this study was to develop customized necktie design according to Korean adult male's body characteristics. For this purpose, experimentations of visual sensory evaluation on visual stimuli which show a man's wearing various neckties were carried out. The subjects were students(n=130) majoring in fashion and design related area and experts(n=6). The data were analyzed by ANOVA, duncan test, pearson's correlation coefficient, cross tabulation using spss pc/sup +/ program. Also statistic of Korea adult men's body measurements(1997) were analyzed and used to decide appropriate necktie length according to the customer's various height. The results were as follows: First, there were significant difference in visual sensibility on the stimuli showing 1) relative location of belt and necktie, 2) neckties with various length using golden ratio to the experimental model's height. Therefore, the need of producing neckties with different length according to customer's various height were verified. Second, neckties with three different length(140cm, 145cm, 151cm) were suggested for the groups of 160cm-height, 170cm-height, 180cm-height according to Korean adult male's body characteristics and aspect of production.