• 복식
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• 제59권9호
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• pp.115-130
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• 2009

A kind of Korean traditional jacket, Baeja, has been a Korean traditional costume equipped with practicality and formative aesthetics from the Three Kingdoms period to the Joseon Dynasty. Accordingly, the researcher of this study highly valued a modern sense of Baeja with various types of design and forms and attempted to make efforts to apply it into modern life. This study provided a new direction in the modernization work of traditional costumes by creating fashion images newly interpreted corresponding to a modern sense and trend through the application of formative characteristics and noticeable elements via the coordination of traditional Baeja and modern costumes. On the one hand, it would be meaningful in terms of contributing to the activation of traditional Hanbok by providing people with ample opportunities to wear it in modern daily lives variously. On the other hand, the actual purpose of this study was to perform a modernization work for traditional costumes by attempting to conduct a crossover that could let people move into other areas freely, that is, a creative and innovative research associating the area of costume history and that of coordination.

• 문화기술의 융합
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• 제9권5호
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• pp.83-90
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• 2023

최근 젊은 세대의 전통 복식 체험이나, 퓨전 한복의 일상복화 등의 추세에 따라 한복용 헤어 액세서리의 개발이 필요한 실정이다. 본 논문의 연구 목적은 왕실 여성의 머리 장식을 활용하여 한복과 어울리는 실용적이고 현대적인 헤어 액세서리 디자인을 개발하여 한복 문화를 활용한 패션 콘텐츠 개발의 영역을 확장시키고, 전통 문화의 다양한 경험에 대한 수요를 충족시키는 것이다. 연구 방법은 문헌연구를 통해서 전통 머리모양 및 영왕비의 전통 장신구들을 조사하였고, 실증연구로 실물을 제작하였다. 제작과정은 먼저 전통 머리모양을 응용하여 나일론 메쉬로 기본 형태를 만들었고, 그 위에 장엄하고 화려한 왕실 유물을 활용한 디지털 텍스타일 프린팅 원단을 접목하여 궁극적으로 전통 장신구를 착용한 듯한 트롱프뢰유 기법을 줄 수 있도록 디자인을 설계하였다. 결과적으로 총 6개의 헤어 액세서리 디자인이 완성되었으며, 헤어 밴드, 헤어 핀, 헤어 고무밴드의 구조로 제작하였다. 또한 착용자의 헤어 스타일에 관계 없이 간편하게 착용할 수 있도록 하였고 나일론 메쉬 소재의 특유의 빳빳하면서 유연한 재질을 이용하여 볼륨감 있는 머리 모양을 효과적으로 표현하였는데, 이는 마치 머리카락과도 같은 시각적인 착시 효과를 즐길 수 있다는 장점이 있다. 이러한 연구 결과를 통해 일상의 유희와 희소성 있는 가치를 추구하는 대중들에게도 독특한 미적, 문화적 경험을 제시할 수 있을 것으로 생각된다.

• 복식문화연구
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• 제17권5호
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• pp.886-896
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• 2009

Acjurumpo is one of the most representatives daily outfit of Joseon Dynasty is a clothes which has a characteristic of having creases under the armhole and it has a lot of chance to use on modern clothes design. This study wants to provide a information on traditional clothes to the public and modernize traditional clothes by designing modern women clothes by adapting Acjurumpo, one of Joseon Dynasty's men' daily outfit which is not very well-known to publics as a link of traditional clothes modernization. Acjurumpo's characteristic is usually having a knife-shape collar and having two sup and one sup, but outside sup of having two sup was more common. There were tongsu, duri, as a example of shape of sleeve. For Mu the combinations were different from Acjurum starting with a shape of trapezoid, triangle to big Mu on a body of side line. For Gorum there were two pairs of long and short Gorum, two pairs of short Gorum or one pair of short or long Gorum. Slit of po was on both side or back. Acjurumpo which was adapted on modern clothes, it was usually used on Hanbok companies that used traditional shape or similar shape to design children' clothes. This study designed three summer one-piece and two winter jacket for women clothes adapting Acjurumpo. And it was designed by using modern material adapting Acjurumpo's characteristics, changing knife-shape collar, Acjurum, mu and Gorum. This study expects for popularization of many traditional clothes developed by modern design in future.

• 복식문화연구
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• 제30권2호
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• pp.208-225
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• 2022

The purpose of this study is to identify trends in modern Korean clothing design through investigation and analysis of the types and respective characteristics of silhouettes, colors, materials, patterns, and decorations present. To this end, research methods such as literature research and content analysis through case study research were used. The results of the wedding magazine data analysis were largely classified by design element and based on such, the conclusions are as follows. First, in the analysis of silhouettes, the appearance rate of traditional items decreased over the selected period and that of modified items increased. Second, among the same colors, adjacent colors, proximity complementary colors, contrast, and other harmonies, adjacent color harmonies showed the highest rate of appearance. Third, the cases where the same materials were used for the top and bottom elements showed a similar appearance rate as those where different materials were used. It was also concluded that traditional materials are being replaced by modern materials. Fourth, regarding the arrangement of patterns, the appearance rate of the absence of patterns gradually increases. Fifth, there were more case of decorations than those of none. This study made it possible to grasp the changes in trends of modern Korean clothing from 2011 to 2020 and provide basic data for the development of the Korean clothing market industry.

• 복식
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• 제59권2호
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• pp.59-69
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• 2009

This study aims to identify how Korean women's traditional costume, Hanbok, has changed according to the times in terms of color coordination of Jeogori and Chima. Photos had been taken at wedding places and streets at 5 major cities(Seoul, Pusan, Kwangju, Daejon, Jeju) at two weekends of each season in 1999, 2001, and 2003. Total 1617 photos were used as final data. Data were analyzed by hue coordination and value level. Hue coordination exist in one-color and two-color coordination. In one-color coordination, red color(R & RP) was the most frequently used and blue green(BG) was the next, and the least was blue purple(BP) for each year. In value scale, high level was the most frequent and followed by middle level and low level. Pink was the most preferred color for one-color coordination. In two-color coordination, white and blue were widely used for Jeogori and red and blue far chima for each year, which seemed to be the basic color coordination for Jeogori and Chima. While there was a certain basic color coordination types across year, but a few new color coordination appeared each year and maintained as popular color coordination for one or two year.

• 한국의류산업학회지
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• 제18권3호
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• pp.289-300
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• 2016

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

• 복식문화연구
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• 제31권4호
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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.

• 한국의상디자인학회지
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• 제26권3호
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• pp.99-112
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• 2024

This study aims to analyze the characteristics of 'Korean Chic' through the collections of Korean designer Eudon Choi, who has gained prominence in the international fashion market. The term 'Korean Chic' encompasses four main traits: coexistence, eclecticism, practicality, and uniqueness. First, coexistence involves blending masculine and feminine elements as well as traditional and modern aspects. This is evident in Choi's use of strong, angular designs typically seen in menswear alongside soft silhouettes and feminine touches found in womenswear. Additionally, traditional Korean hanbok elements are harmoniously integrated with modern design techniques. Second, eclecticism is seen in the balanced mix of direct and subtle expressions, including the fusion of hanbok details with diverse fashion elements, and the combination of monochromatic and vivid colors. This trait also involves blending strong and delicate features to create a dynamic and versatile look. Third, practicality is a cornerstone of Choi's design philosophy. He emphasizes the importance of creating wearable yet innovative pieces that are suitable for daily wear. His collections feature practical materials and items that prioritize comfort without compromising creativity. Last, unique is highlighted through hidden details and unexpected design elements. Choi often incorporates surprising prints or decorations that are not immediately visible, adding an element of discovery and delight for the wearer. This can include witty combinations of traditional and contemporary elements, as well as formal and casual styles. Through study aims to shed light on the design identity of Korean fashion designers by examining the characteristics of Korean Chic in Eudon Choi's work. It also calls for further research on other Korean designers to enhance the understanding and global recognition of Korean fashion's unique aesthetic and growing influence in the international fashion scene.

• 복식
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• 제66권2호
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• pp.117-133
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• 2016

Fashion reflects various cultures, including the spirit and the lifestyle of the period. South Korea has experienced rapid social changes, including the Korean War, industrial development, and the inflow of Western influence. Modern Korean fashion has developed along with these changes. Acceptance of suits and the reformism of the Hanbok are the two notable changes in Korean fashion. Gyungja Choi, and her fashion show, is known for combining modern fashion and traditional beauty by entwining traditional Korean fashion design elements into modern fashion. This research investigated Gyungja Choi as a fashion designer, a fashion education executive who cultivated fashion designers through the education business, and a fashion publisher who published the first professional costume magazine. This research classified the Korean-style design elements in Gyungja Choi's fashion show by analyzing the clothes exhibited in her fashion shows. In conclusion, Choi's design utilized Korean-style fashion design elements, such as line, colors, patterns, and materials. Which can be said to be the introduction period that expressed Korean style image in fashion considering the period.

• 한국의류산업학회지
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• 제8권2호
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.