• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.661-676
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• 2007

The purpose of this study was to investigate the periodical change of Korean children's clothing from 1960 to 2000. As valuable historical data, 794 children's clothing in wedding pictures in these periods were collected for this study. Research method was content analysis and frequency, cross table analysis, and ${\chi}^2$ test were conducted for data analysis. The results of this study were as follows. The children's clothing in 1960s had very humdrum and limited design and plain pattern. And most of children in this period wore Western clothes of casual style. In 1970s, children's clothing was enriched in terms of design, pattern, color and ornament. However, clothing design for children was not developed yet, so form of children's clothing in this period was showed as duplication of adult clothing design. In 1980s, The children's clothing was developed with enhancement of the level of living. Various style and sophisticated design were appeared and design and size system for children were developed. With increasement of social interest of leisure and sports, casual style was especially popular in this period for both of children and adult in this period. In 1990, rapid decrease of birth rate resulted in parents' excessive interest and investment for their children. In this effects, children's clothing in 1990s had luxury, various, and individual characteristics.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.124-140
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• 2023

This study analyzes traditional women's Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the "moment" theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.3 s.31
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• pp.259-267
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• 1989

In this paper, the fabric specimen undergoes repeated laundering under given condition. After this cyclic laundering was applied, the crease recoveries of the specimen were measured using shirley crease revovery tester in order to evaluate the effect of factors at given condition during crease deformation. 5 samples of grey plain cloth were desized, alkali-scoured, bleached, whased with water, and air-dried. All tests were made on samples preconditioned to $65\%\;RH\;and\;20^{\circ}C$. The experimental results were analysed statistically to relate crease recoveries and the properties of smaples, recovery periods (time) of crease. Furthermore, the crease recoveries of core-spun yarn woven fabrics were discussed in comparison with those values for $100\%$ combed cotton yarn woven fabric and $65\%$ polyester $35\%$ carded cotton blended yarn woven fabric. The results obtained are as follows; 1. Regardless of materials, remarkable decrease are observed in crease recoveries about 1-5 cycles of the repeated laundering, but slack decrease are observed in crease recoveries after 5 cycle of the re-peated laundering. 2. Crease recoveries ($\alpha$) of core-spun yarn woven fabrics are relate to recovery periods (t) of crease as follows; log$\alpha$=0.01415 log t+2.1168 ($r^2=0.94$) 3. Core-spun yarn woven fabrics were superior to $100\%$ combed cotton yarn woven fabrics and $65\%$ polyester $35\%$ carded cotton blended yarn woven fabric in crease recoveries. 4. Crease recoveries ($\alpha$) of core-spun yarn woven fabrics are relate to cover factor (CF), thickness (T) at pressure 0.5 $gf/cm^2$, weight (W) as follows; log$\alpha$=-0.3482 log CF-0.4924 log T-0.4727 W+2.4243 ($r^2=0.88$) 5. Crease recoveries ($\alpha$) of core-spun yarn woven fabrics are relate to 2HB/B, 2HB/W, $\sqrt[3]{B/W}$, WC/T which are concerning to formation of weared clothes and bending Iran formation behavior as follows: log $\alpha$=0.0091 2HB/B+0.4667 2HB/W+0.0185 $\sqrt[3]{B/W}$+0.0114 WC/T+1.8433 ($r^2=0.86$)

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.141-148
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• 2007

As Backje(B.C. 18-A.D. 600) is the whole area of Chungcheong, Jeonra, Kangwon and Gyeongsang provinces, the son of the founder of Goguryeo, King Onjoe, making the castle Wu'irae capital of the nation, founded Backje. The capital was transferred to Hansung by B.C. 5 and then to Gongju by A.D. 475. Backje governed the east of China and the northeastern coast. Due to the effect of Chinese culture there are remarkably Chinese cultural elements in dress and its ornament of Baekje. Therefore on the side of cultural part, the noble culture was formed more polished than that of Goguryeo, which affected the culture of dress and ornament. And also there were class differentiation noticeably. Baekje created splendid culture and affected the culture development of Shinra and Japan. The motive of culture creation could be the top of three countries in the foreign trade because there were geographically the widest vast plain and coastline which stretches out from north to south. Although there haven't been many materials about the cultural heritage and records more than other countries, through the modern visual point its design is fresh and more elegant those of other countries. But the fact is that there are few materials related to Baekje. What is worse, there rarely remains all original form and most of them are broken and lost. According1y, we cannot understand not only an original form of Baekje culture and but also the meaning included in it. It goes without saying that there are few materials about the clothes and fabrics. As understanding the culture of Baekje itself is insufficient, a culture enterprise utilizing it - to improve both the added value and economical achievement while combining the latest culture resources with other fields - hasn't been successful. In this study, the purpose is to improve economic power through commercialization and industrialization of the sources of the culture of Baekje. By reanalyzing a form and an image of Baekje relics, it is designed with new motif and modem preference on the condition of our peculiar cultural heritage. And while using this motif with Jacquard pattern, we made it possible to be applied to real life such as interior trinkets, etc.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.33-45
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• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.