• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.2 s.24
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• pp.37-55
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• 1987

Pasul (Herein after referred to Korean-styled Pasul) to cover up the secrets, which has originated from Bool-an original mode of clothes is to put around a belt with a kind of towel. With the development of culture, it has been handed down the parts of ornamental and symbolic functions, losted its particular and original one. In general, we cannot exactly show when the Pasul has been used as a ritual dress, but, dare to maintain in this thesis, which has been used in Koguryu era. This thesis is summarized as follows: 1. The Bool, which is the first dress of all has its origin in the prehistory, and gradually has developed to a ceremonial dress with the help of man's intelligence. 2. Korean-styled Pasul has continuously been handed down from generation to generation (to adding up, from Koguryu era to Yi dynasty). Today, the color of the Pasul is known as a pink one, but I, herein, would like to refer that king Kojong in Yi dynasty had on a yellow-colored Pasul. 3. With becoming to be a form of ceremonial dress, the Bool has become to be complicated in style. For example, in the Koguryu era, the style is in the form of 'U,' and in Koryu era, it is the echelon formation tinting a pink color and weaving a mountain and flare shaped designs, and its dimension, the upper is one ja (a ja means a unit of length, 0.33 M), the lower, two ja, its length three ja. The Bool of Yi dynasty tints a pink color, and weaves a seaweeds, rices, axes and shaped designs. The Pasul which King Kojong in Yi dynasty put in, was a yellow-colored one weaving dragons and fire shaped design. 4. The Pasul is a ceremonial dress used a ritual or court dress. The purposes of wearing it are to distinguish the upper from the lower classes, to make them abide by regulations, and to respect courtesy. Accordingly, the Pasul. as the dress for special occassions does make us review the old and learn the new. 5. The reason that Pasul has been handed down are: 1) richness and fecundity. 2) symbol mark to represent classicalism. 3) to symbolize the authority by putting on it, for it is necessary to distinguish the upper from the lower classes along with the class consciousness in society. 6. On the basis of the study, the Pasul transition is to be handed down the function of the ornament and symbol. after losted its original functions, with the development of culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.1
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• pp.48-59
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• 2003

The purposes of this research lie in developing dress shirts pattern targeting adult males between 25-34 years of age and presenting the rules of grading according to the real circumstances of dress shirts industry. The findings of this research are as follows: 1. The surveyed companies kept different size systems ranged from 5 to 18. They kept different size systems each other, and the pattern making was conducted by modification of the collar size, chest size, etc of the pattern developed through each company's know-how. All the surveyed companies were using point method of grading. 2. The method of the research pattern was to adopt N/6+1(cm) for the width of the back of the neck. N/6 for the front neck, N/6+2 for the depth of the front neck, B/6+7 for the shoulder width, B/6+5.5 for the breast width, B/4+5 for the whole width (back), B/4+4 for the whole width (front), B/4+3.5 for the depth, AH/2+0.5 for the back arm hole, AH2+1 for the front arm hole. 3. The grading rule was made after classifying the sizes into 14 centered on the standard size 40. Through the wearing test of research grading rule, 1 found the suitability of grading size 36 and 43 satisfiable.

• Journal of the Korean Society of Costume
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• v.42
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• pp.69-90
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• 1999

Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.373-381
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• 1996

Draping design system organized by European about 13C has been developed greatly for a long while, but for the purpose of the practical use the Dress form similar to human body has been needed. In order to make three-dimensional effect as fitting Muslin ot the Dress form. the Basic lien has to be established in Muslin and Dress form each. At this time, Shoulder-blade level is indicated from various angles : measure down 10cm from the back neck point, a quarter of the back neck point to the waist lie, the half-way point between neckline and bust line, measure down 41 inches from the back neck line, measure down 3 inches from the top edge of the muslin at center back and cross mark for neck line, and so forth. This study established the Basic line through the two ways of them (B.N.P∼B.L/2, B.N.P∼W.L/4), did tight fitting to the 5 kinds of Dress forms which ar normal type in the drop value(the difference between hip circumference and bust circumference), and acquired Basic Pattern. After the experiment, fitness are throughly investigate by statistical analysis of measurements. As a result, this study finds out that fit is proper when shoulder blade level is situated on a fourth of the back neck point to the waist line and a quarter point between back neck point and waist line, and waist dart is situated on the back center line and princess line.

• Journal of the Korean Society of Costume
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• v.31
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• pp.47-60
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• 1997

As we analyzed the formalities of court dress during King Soonjo's rule through the characters depicted in $\boxDr$Wangseja Chulgungdo$\boxUl$(The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) the results were as follows: People wore their appropriate full dress ac-cording to the ceremonial procedures. In the case of a Crown Prince normally the wore Gongjungchaek(a hat) (after the coming-of-age ceremony Iksunkwan) and Gonryongpo(imperial clothes) to show his status as a Crown Prince. He wore chugkumbok(a Coat) to indicate a Crown Prince as being a student. on an occasion of celebration a Crown Prince wore Wonyugwan and Gangsapo to provide him with prestige and as a sign of respect for the occasion. The teacher of a Crown Prince also wore Gongbok and Sangbok accoding to the dress requirements of the ceremonies. We can confirm that the Gongbok system of all government officials had been main-tained in the late Chosun dynasty. We know that the form of ceremonies be-came simplified in the late Chosun dynasty. it was recorded that students had to wear Chungkumbok. but we knew from the painting that students actually wore Dopo(a traditonal korean coat). We knew through this painting that the court dress rules of the late Chosun dynasty varied that previously known. As we concluded above research on the his-tory of costume by analyzing paintings both supplements our knowledge of the topic and confirms the deficiency in the study of the his-tory of costume based solely upon literature and books.

• Journal of Fashion Business
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• v.6 no.1
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• pp.71-82
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• 2002

The purpose of this study was to correctly understand the costume of Qing dynasty in the court painting. The starting point of this study was that the painting typically reflects the cultural values, social significations, costume and aesthetic outlook of that period when the paintings were done. Based on this regard, this study analyzed the costume of figure paintings in the court painting of the Qing dynasty that complied and edited by the Palace Museum. The court dress of Qing dynasty represented not only the spiritual world of Manchu tribes but also the influences of Chinese traditional culture. The court dresses of Kangxi and Qianloug showed definitely the luxury of life of Qing court. The everyday dress of Qing dynasty reflected the nomadic environments and it was very simple. The hunting dress of Qing dynasty was very developed and also represented horse riding and hunting activities of their traditional life. The ladies of Qing dynasty enjoyed to dress the costume of old Chinese style. The appearance of noble women was fragile and slim.

• Journal of Korean Home Economics Education Association
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• v.21 no.2
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• pp.45-60
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• 2009

This study is intended to implement an e-Learning system assisted class for the dress unit in the subject of technology & home economics in the middle school. This class is aimed at making teaching-learning in the dress unit effective, triggering students' interest in it, enhancing their understanding and offering basic materials for the e-Learning development about clothing instruction in the subject of technology & home economics. To make the concrete situational learning effective and provide realistic learning environments, learning contents were implemented so that the learners themselves could manipulate the contents by clicking. How to wear clothing according to learners' individuality was presented in order to trigger the learners' attention and motivation using the latest clothing pictures from the Internet shopping mall, and the dress fashion pictures of their peers. The result of this study can be summed up as follows. First, the implementation of learning materials with which simulation manipulation and visualization were possible could make the students reach the learning goals easily. Second, teaching-learning activity could be made more effective using audios, images and moving pictures rather than written texts. Third, learning the dress unit, which is especially related with a new fashion, made the most of the advantage of e-Learning by providing realistic and lively learning materials in a timely manner. And it triggered learners' motivation by providing pictures or moving pictures related with their real life. Based on these research results, this study suggests further research to develop e-Learning contents using various multimedia authoring tools as well as the ones applied to this study in learning the dress unit. It also suggests that the database of teaching-learning materials be constructed to securely prepare abundant instruction materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.165-172
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• 2012

The purpose of this study was to examine and analyze broadcasting station's image expressed in wearing dress color of male and female news anchors. The data were collected from replay video news(n=180) provided in each station's website during 2005-2010 year. The results were as follows. First, in the case of the male anchor, KBS was focused on the quiet and classic image and the gentle image. MBC was focused on the vital and urban image. SBS was focused on the dynamic and young image. Second, in the case of the female anchor, KBS was focused on the neat, soft, and feminine in S/S season, on the other hand the loud and flamboyant image in F/W season. MBC was focused on the vital and urban image like image of a male anchor. SBS was focused on the private image of a female anchor than broadcasting station's image. Through the results of this study, the image of the individual and companies can be symbolized by the color of dress.

• Journal of the Korean Society of Costume
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• v.17
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• pp.83-91
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• 1991

I observed the meaning and the symbolic charaeters about the color and style of clothes appearing at "GER GA JAP BOK GO" written by Kyu Soo Park. The black color of Hyun Eui as a ceremonial dress of man symbolizes Heaven and Virtue. The yellow color of Whang Sang as a ceremonial dress of man symbolizes the Earth and the Impartiality. The blue or black decoration line over white ground of Sim Eui as ordinary dress of man symbolizes also Filial Piety. In woman ordinary upper garment, So Eui, black texture edging with blue line implies the mutual symmetricity with her husband's. Besides, white color texture lining So Eui symbolical to a Devine Nature and Homage implies also the deep concealment of feminine body. The black ground color of child dress "Chi Po Eui" symbolizes Naivety, and the red silk color of it's decoration line, belt and tress ornaments implies the praise of the Virtue & Learning and also "Expel the Evil" of our traditional national characteristics. As described above the meaning and symbolic characters about the color and style of clothes appearing at "GER GA JAP BOK GO" has a very Chinese disposition, but it's author Kyu Soo Park modified somewhat to be in harmony with the real social situation of our Country during that latest stage of Yi Dynasty, because he was one of the prominent pragmatist at that time.