• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.137-158
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• 2005

Modernization of Korea had begun with the reformation of the Kab-o Reform in 1894, which the government had designed after the protectorate treaty with Japan in 1876. It had affected drastic changes on the formation and framework of a Han-bok by government and the main changes is found in creating new style of Gae-ryang Han-bok. During 1980's, the peoples were interested in traditional cultural heritage, and 'the campaign of wearing Woo-Ri Ot' prevailed in Korea to instill the radical sprit of Korean. A Han-bok, which was made at this time, has called a Saeng-hwal Han-bok. The purposes of this study are to defue the the words that are Han-bok, Gae-ryang Han-bok and Saeng-hwal Han-bok of meaning and characteristic based on the previous studies and historical materials and present a unified and historical opinion about Han-bok to the academic world and industry of Han-bok by the consideration. Han-bok is a traditional costume with a long skirt and long breast-tie based on the later Cho-sun and is emphasized a virtue and manner on it. Gae-ryang Han-bok is an improved Han-bok that is include with a Tong-Chima and Jeogori for making a movement and function better. Saeng-hwal Han-bok is originated by the movement of wearing Woo-ri Ot in 1984, is interpreted the traditional Korean beauty from the modem view and is a practice Han-bok for popularizing intodaily life. After investigating the 33 of previous studies, the characteristics and transitions of Han-bok are followed. First, the reason of fail about the reform of dress is a loss of traditional beauty. Second, the yes or no of the establishment of law about the reform of dress, it influenced on a reforming or wearing speed of costume. Third, after 8.15, a modem girl and girl student can not impact on a system of Korean women anymore because, the number of the group that means a high educated and active woman, was growing. So, the elevation of women's education matured the system of Korean women's costume. forth, western style clothes are popularized after the Korean War and it is set down in the system of Korean women's dress.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.91-107
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• 2002

The purpose of this study was to investigate the experimental design by using deconstructive design and mobile design depicted on Hussein Chalayan' works. Hussein Chalayan, the Turkish-Cypriot who is based in London, says' Challenging is the best word for me'. And so word, 'radical' that has difficult connotations was chosen for this study It implies two menainigs for the word. The first thing is "extreme" - something that is drastic. And 'Applied to clothes', it can probably mean "experimental". He has iconoclastic ideas and his ramp shows are always high on concept, experimentation of art and utility. His approach to fashion derives from philosophical and intellectual theories of deconstruction and mobility, which he expresses through his designs. Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color. Cuts. tears, asymmetries, matching different materials are among the most evident features of the deconstructive design. And Chalayan performed the mobile design of transforming furniture into clothes. Chair covers became dresses. a coffee table became a skirt which were designed by Chalayan, with geometric and architectural references. Chalayan says he was inspired by the idea of refugees fleeing. Besides Chalayan uses clothing as an art to reinterpret and reform the human body in a continuous tour de force of body/identity conceptualism and dressmaking. He reflect the body's function in the cultural context of architecture, science, or nature - and then attempt to translate his findings into clothing.dings into clothing.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.17-29
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• 2016

Though the po as the basic apparel of the Joseon Dynasty period was various in kind as it was worn by people of different times, places, duties and statuses. it was unified as Juui with apparel reform at the late Joseon Dynasty. Though people of today have good feelings about hanbok, they rarely wear it because of its uncomfortable wearing sensation and the fastidious care after its use. However, efforts should be made to develop designs and to improve its use convenience through the study on the Korean traditional clothing now that overseas examples exist in which other countries' traditional clothing was successfully popularized. In this regard, targeting the children in their preschool ages when their socialization arises along with their physical development that have great influence on their adulthood, this study aims to suggest a design of overcoats that combines the various characteristics of the po in Joseon Dynasty period with those of the modern children's overcoats so that they might have positive attitudes towards Korean traditional clothes, and to contribute to its popularization. The study applied the characteristics of po to the design of children's overcoats so that children and their parents could choose to wear them with little repulsion. In this way, it attempted to resolve the inconveniences of the Korean traditional clothes and make the general public have positive perception about them. It is expected that the continuous development of the design that combines the Korean traditional clothes and children's clothes will contribute to the popularization of the Korean traditional clothes.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.89-105
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• 2014

This study researched the changes in everyday wear in China since the mid-20th century. The study was conducted by interviewing 13 Chinese persons who were familiar with the public awareness and donning practices of the Chinese from 1949 to now, and the results were analyzed through categorical analysis and subject analysis. First of all, due to the influences of Zhongshan-zhuang, Liening-zhuang and Bulaji, political characteristics were represented the most during the reconstruction time, and during this time, Jieyueling also became famous. Second, during the period of the Cultural Revolution, the government used many mechanisms to control people's thought, so Junfu/Junbianfu and sailor shirt were the most common clothing. Third, information from the West began to enter the Chinese market and it started to influence and change the Chinese thinking. Suit, bat wing sleeves, colorful skirt, flares and jeans became more and more popular in the reform and open times. Fourth, during the personality expression time, people not only copied fashion icons' styles, but also created new styles like sexy, cute, ethnic, K-pop, street, and DIY style, in order to show their personality. Finally, during these 60 years, the changes of Chinese everyday wear were characterized by de-politicization, ready-made, diversification and individualization.

• Journal of the Korean Society of Clothing and Textiles
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• v.1 no.1
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• pp.15-23
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• 1977

This article is to study Dopo, man's traditional robe, which was worn by courtiers and scholars in Yi dynasty (AD 1392-1910). This article deals with its history and transition according to relative documents available, and presents its construction method with reference to relics. It is recorded that Dopo was first worn about the middle of the time of Yi dynasty. Dopo, however, seems to have its origin in the robe of Koguryo dynasty (BC 37-AD 668). Dopo was an ordinary robe to court officials, whereas Confucian scholars wore it as an official uniform or a ritual robe. ft was a long over-coat with V-neck line, and, round and wide sleeves. Dopo was so long that its edge reached wearer's ankels. One of the widest sleeves of relics was 58cm in size. Another unique characteristics Dopo had, were that its back cloth splited in two on center line, which was fully covered and added with-another cloth called 'Jeonsam'. Accordingly, a cloth-30cm in width and 30 yards in length-was needed to make Dopo. Since the reform of 1894 it was prohibited to wear, and then was replaced with Durumagi, a strait collar and narrow-sleeved robe.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.317-334
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• 2021

This study aims to examine the expressive characteristics and meanings of modern in contemporary fashion, especially focusing on Vogue and The New York Times. First, modern signified originality born out of borderless fusion and compromise. It was also expressed to signify diversity and tolerance not bounded by conventions, TPO, areas, ethnic groups, seasons, or gender. Second, modern meant functionality encompassing the comfort of body and mind. It was used to refer to convenient mobility and activity fit for the lifestyle of busy modern people. Third, lightness and naturalness were used as new meanings of beauty in modern fashion. In the fashion of the twenty-first century, the principal meaning of modern was lightness, which was sought after in everything including materials, modes of wearing, and ways of thinking. Finally, modern fashion was expressed as a democratic tool for social reform and used in the meaning of enlightenment to benefit society as well as oneself. The results of this study indicate that constant changes in trends, lifestyles, and psychology of contemporary society have the potential to give new meaning to the concept and the use of the term modern.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.405-419
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• 2007

It is no more make consumers feel the freshness about a simple and functioned style reminding to the cyber-future style made by shining materials. Rather than that stereo-type of the future, people at present tend to feel more interested in something familiar than something new. Even though the amazing product made by human for better life, people become feel afraid that value be getting disappear, and it is natural that people should put more value to the nature, admire it, people try to find the new beauty in something worn being able to be felt the passed time. The vintage has turned up in the fashion area out of the mode of the antipathy from standardization, overconsumption, and also demand of a special thing different from mass product. The vintage is not the past-inclined trend but the new trend that people try to seek in the future to feel both comfort and newness. This study analyzed the vintage fashion style getting more important and also how the vintage fashion shows focusing in the domestic fashion market. The results as follow.: There are two meaning in vintage fashion, one of two is the recycled fashion style that current fashion made with used clothing, or reforming with new and old, Second, there is the new style using the past image, so called as the revival fashion. The totally current trend can be made in something new mixed with material or silhouette from past thing. The vintage fashion as recycled and reformed fashion will be more demanded from consumers who want to be comfort and still try to pursuit something new.

• Journal of Korean Home Economics Education Association
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• v.26 no.3
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• pp.35-52
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• 2014

This study analyzed the 12 different technology home economics textbooks I, II for middle school students and the content systems of the textbooks by 7 instructional strategies in Reigeluth's elaboration theory. The units analyzed were 'Clothing and self-expression' and 'Eco-friendly clothing life and recycling by reform'. The purpose of this study was to provide basic information for the development of textbooks and teaching materials by analyzing current textbooks. Researchers analyzed the textbooks individually using pre-developed analysis frame using Reigeluth's elaboration theory. The results of the study were as follows. The conceptual elaboration process was used in the unit of 'Clothing and self-expression' of all the textbooks used in this study, and procedural elaboration process was mostly used in the unit of 'Eco-friendly clothing life and recycling by reform'. The strategies of advance learning ability were presented mostly in the forms of 'Learning Objective', 'Thought Opening', 'Key terms' in either unit and sub unit. The strategies of summarizer were presented as 'Unit Summary', 'Cleanup' and 'Assessment'. The strategies of synthesizer were used in all the textbooks as the 'Exploration' to increase the students interest through the promotion of the learning content in a variety of activities and projects. The cognitive activator strategies were shown in all of the textbooks using mostly 'Figure,' and others such as 'Table,' 'Diagram', and 'Explanation of Terms'. The strategies of learner control were used to guide the supplement and deepen the learning by various forms. However the analogy strategies were hardly used in units of textbooks analyzed in this study. As a result, the technology home economics textbooks I, II for middle school students applied the Reigeluth's elaboration theory, except the analogy strategies. It is recommended to utilize th analogy strategies and various activities to enhance the students' understanding and participation.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.6
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• pp.838-849
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• 2000

The purpose of this study was to investigate use and purchase behavior of sleeping wear for summer. Subjects in this study were composed of 591 males and females aged from twenties to fifties, living in Taejon and Chongju. For data analysis, descriptive analysis, $\chi$$^2$-test, t-test, ANOVA, and factor analysis were used. The results are as follows. First, subjects used sleeping wear(a night gown and pajamas), and home wear(T-shirts and sweat suit with zippered top) with similar rates. The subjects, who are females, married, older and have professional jobs, owned sleeping wear such as a night gown and pajamas more than home wear. Also, the mean of using pajamas was the highest, and they were satisfied with them more than others who didn't wear them. Second, one-third of consumers purchased sleeping wear once a year in a specialty store. Consumers mainly searched for information regarding sleeping wear in the display section. Most consumers weren't influenced by others when they made their purchases. When consumers decided to purchase a product, they considered six criteria such as fabric/management, wearing/fitness, esthetic, service, symbolic status, and economic for evaluating. Among them, the factor wearing/fitness was considered the most important. These results imply that consumers would be conscious of sleeping wear even though sleeping wear and home wear are used interchangeably. In addition, consumer behavior concerning sleeping wear is different from their characteristics such as sex, age, occupation, the level of education, and marital state. Therefore, the markets with sleeping wear would be able to be segmented based on consumers’characteristics. Also, marketers should focus on distribution channels to reform the markets of sleeping wear, that is, they may offer products in specialty stores. Additionally, market managers would be able to concentrate on visual merchandising in stores in order to increase brand awareness and market share.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1322-1331
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• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.