• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.80-87
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• 2010

The purpose of this study is to develop cultural products containing Korean beauty with modern sense by applying quilting with dyed threat among Korean traditional quilting works. Quilting with dyed thread using various colored thread expresses curve, straight and oblique lines harmoniously, is mainly used to make household goods such as a pouch, a spectacle case and a quilting pocket and a circular pattern, a cross pattern and a geometric pattern are shown in this kind of quilting. As for sewing method, half backstitch and full backstitch are used, and products made by this method are pouches stuffing pads in cotton or silk and quilting it finely to make patterns with various colored threads of stuffing cotton between linings and spectacle cases, a packet of needles and case of spoon and chopsticks which give various feelings according to arrangement of colors. Design of cultural products by applying the beauty of curves of hanbok, sleave-seam of jeogori, trimming line of dangeui. We expect that various cultural products with Korean traditional beauty and modern convenience will be developed continually by introducing the artistic strength of quilting with dyed thread to practical life.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.75-96
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• 2000

Modern clothing is approached in the level of art, and it becomes the means of expressing individuality in modern society uniformed by the development of information society. In this modern society, modern men need the recovery of humanity and expectations of handcrafted skills for the succession of tradition culture. Prior to expressing individuality, we should examine our traditional culture and combine it with western culture. Quit started to be used for practical purpose such as life items, but it is expanded to the fields of art. Used in dress and its ornaments design, quilt is often applied to the addition of aesthetic factors or cubic material feelings by transforming its warming effect. Hereby, this study has a purpose to create high value added modern dross and its ornaments design by expressing the modern clothing is approached in the level of art, and it becomes the means of expressing individuality roe-dimensional characteristics of quilt, and applying the color combination and the surface of butterfly wings to dress and its ornaments design. The following are the results of this study. 1. The concept of quilt started for practical purposes, but it is expanded to decoration in modern times, and it is confirmed that quilt can be variously applied to handcrafted modern design. 2. Quilt removes the plane character of textile and it riches the three-dimensional material of dress and its ornaments. Applying these characteristics, the expression of transparent wings were possible with 3 transparent layers of textile. 3. The spledid color of butterfly wings are expressed by coloring oganza and felt, and the various colors of felt showed rich color gradation. 4. The form and pattern of butterfly wings are applied as modeling form and line, and the transformation. repetition and expansion of unit forms determined the form of quilting lines. By designing the characteristics of back wings for the composition line of clothing, the form characteristics of a motif could be emphasized. 5. By using felt, oganza, Damdam yarn and ostritch feathers in expressing butterfly wings, the warm material of Linbun is felt, and the tip hair of wings are expressed by croche techniques using Damdam yarn.

• Korean Journal of Human Ecology
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• v.15 no.2
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• pp.303-316
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• 2006

The present study deals with developing a new modem design of quilt which is characteristic of Korean traditional patterns. The goal of this study is to make some samples of the pattern as a basic motive of quilt work by using some Korean traditional patterns that could be found in roof tiles, windows, Neung-Hwa (a kind of wood cut for printing book covers), and others. This study examines the concept of quilts, their historical background, and their characteristics. This study also examines traditional patterns that are applicable to the patchy work of quilt, discussing the characteristic of both the Korean patterns and Nubi (Korean traditional quilt). In the process of pattern development, the original patterns were simplified and transformed to apply them to the modem quilt pattern. Fabrics (100% cotton) of similar colors were used to emphasize quilting lines. This study has found followings; 1) The geometric pattern usually consists of dots, lines, and faces. These patterns are suitable for pieced quilts. 2) The curvilinear pattern found in roof tiles or Yi-Dynasty coins, can be easily re-expressed by the applique technique. Combinations of fabrics and motive compositions can express quilts in realistic and creative ways. 3) Addition of Korean traditional quilt techniques, such as parallel lines or swastika stitches, to the traditional object-derived quilt patterns led to the creation of images close to the already existing Korean quilt, Nubi.

• Journal of the Korean Society of Costume
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• v.50
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• pp.161-182
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• 2000

The results of this study were as follows: The quit has been used for warmth supporting materials protection religious uses decoration and giving stability of shapes. Quilt is developed from monk's robe of lags and the word 'nubi' is originated form 'nabeui' in both Korean and Japan. Korean quilt was used mainly for warmth: Japanese one was used for warmth and supporting materials. The techniques used for traditional Korean quit were parallel vertical hand stitches. On the other hand Japanese traditional quilt uses various motifs of sashiko which is similar to embroidery and named by region. Korean quilt can be divided into three types by the stitch intervals: Fin quit(Jan unbi) Medium quilt(Jung nubi) and Wide quilt(Demun nubi). Japanese quilt has been developed in east-north region and can be grouped into sashiko kogin and hishizashi by motifs of quit. Korean quilt costumes are stuffed with cotton between the outer fabrics and linings and stitched vertically on the fabrics Main fabrics used were silk and cotton. Japanese quilt costume uses cotton yarns for stitching on flax or cotton fabrics used were silk and cotton. fabrics and main uses of the quilot costumes were sorking clothes of working classes. Both Korean and Japanese quilt costumes contain of family's health happiness and longevity. In summary Korean quilts use two layers of fabrics and stuff them with cotton and stitch parallel vertical i\lines to provide warmth Japanese quilt are sashiko which is stitches of strand in various shapes using cotton yarns. differ by region and are made for warmth and supporting materials.

• Journal of Fashion Business
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• v.10 no.1
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• pp.79-93
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• 2006

The purpose of this study is to analyze designs of exhibition clothing in terms of the use of Korean image, to review objectively contents about the use of traditional image, understand external elements of works, and give directions and basic data for future works. This study selected the total 250 works as the subject of this study among the collected data. This study classified and examined the use of Korean image found in exhibition clothing according to period, item, line and form, material, technique of expression and accessary between 1996 and 2004. The results of analysis are as follows (1) The most artworks were comprised in adaptation were Choson costume. (2) Most of them were clothing works for female. The item of chima were the most preferred in use. (3) The straight lines are used more frequently than curved lines. Forms of skirts were applied to those of silhouettes, H and A form were common. (4) In terms of materials, traditional materials such as silk, linen and cotton were commonly used. (5) Geometric patterns and plant pattern were found more often than others. (6) In terms of techniques of expression, patchwork was most frequent, quilting, embroidery and pleating were ranked second, third and fourth. (7) In accessaries and other item, gorom were most common and norigae were ranked second. (8) As Korean image has been expressed by fine parts of traditional costumes, the traditional living item, and local symbols, the range of works are becoming wider.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.56-72
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• 1998

Vest is a general term for a sleeveless upper garment and it derives from a kolobus of a sleeveless tunic style that was started to be worn as a substitution of a chiton by the peasantry in Greek period. The kolobus started to be called a colobium or a tunica from Roman period and the former was named for a vest style tunica which was worn by the people of the lower classes in early Roman period. Similarly, a German colobium of North Europe which was worn during the same period was the same kind of clothe as the Roman colobium. The colobium came to be worn over a dalmatica as an outer garment by early Christians when it was the Middle Ages, who succeeded the tradition of colobium as they went through ancient Rome, Creek and Byzantine days. North Germans also succeeded the colobium tradition of ancient Germans as it was and so continued to wear it in tight style. The simple vest style of colobium was getting vanished from the mid of the Middle Agnes and a new style of vest named jupon was started to be worn by soldiers. The jupon was to protect soldiers' bodies from either were cold weather or enemies wearing under armors as it was made with double cotton pad by quilt. From 14th century, the jupon began to be worn by not only soldiers but also the humble of lower classes. All the jupon which were made in quilting and padding of that time began to be named a pourpoint by the humble. When Renaissance in 16th century came, the pourpoint began to be developed to an exaggerating body-line style. The neckline of pourpoint was getting highly influenced by Spain and a peacecod-belly of it emphasized the exaggerated masculine beauty of Renaissance by padding in round. The sleeves were puffed out and the whole purpoint was made to expose an inner chemise by slashing vertically or obliquely. But in 17th century, the pourpoint has been changed into more simple style without padding, puffing out and slashing influenced by the citizens' clothes of Netherlands. The pourpoint came to be more comfortable bulky style with short sleeves or sleeveless and straight side lines. The pourpoint in mid 17th century turned to be a bolero jacket style by gradually being tightened. It had been then changed into a vest style with sleeves and worn under an overcoat with the name of vest in the end of 17th century. The early vest was 2∼3 inches les in length than the overcoat and had long sleeves and many ornamental buttons on front. It was also made as a home wear to be worn it alone at home. In 18th century, the length of the vest became shorter compared with that of 17th century and the most important decorative item in clothes. It again came to have complete sleeveless vest style and had very short length reaching waist in the end of 18th century. When it was in 19th century, the vest had developed into more various style and colors and style had been applied to be worn by individuals with their tastes. Around the end of 19th century, the increasing tendency to be casual by industrialization influenced on clothes in all aspects of life and so the male vest has been gradually changed into more casual style. Nowadays, it has been developing into various uses in modern male clothes to show their characters.