• 한국의류학회지
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• 제32권5호
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• 자연과학논문집
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• 제10권1호
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• pp.123-131
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• 1998

개화기 이후 서양복이 도입되면서 한복에 일어난 변화를 1920년대 이후 조선일보의 마이크로필름과 1950년대 이후의 의상 잡지를 중심으로 살펴보았다. 한복 개량의 시기는 변화 내용의 질적, 양적 특성에 따라 해방이전의 소극적 변화기와 해방 이후의 적극적 변화기로 크게 대별하여 분석하였다. 소극적 변화기는 기본적인 한복의 틀에서 벗어나지 않았으나 기존 한복의 길이, 폭과 치마허리에서 약간의 변화가 나타났던 시기이며 적극적 변화기는 한복의 구조에서 벗어나 그 이전시기에 비해 뚜렷한 변화를 보였다. 적극적 변화기는 변화특성에 따라 다시 해방이후로부터 1950년대와 1960년대의 두 시기로 분류하였다. 1950년대에는 서양복의 다트의 개념이 한복에 도입되었으나 아직은 한복의 구조에서 서양복의요소를 가미하는 정도로만 변화가 있었다. 그런데 1960년대에는 서양복착용이 보편화 되면서 서양복에 한복의 특징적인 요소를 반영하는 것으로 완전히 뒤바뀌었다. 서양복이 점차 일상복으로 자리잡게 되자 한복은 1950년대말경부터 예복으로 착용하게 되었다.

• 한국의류산업학회지
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• 제12권5호
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• pp.564-573
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• 2010

The purpose of this study is to investigate decoration techniques applied to the Korean traditional costume of modern style which are shown in special monthly magazines relevant to the traditional magazine. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are largely classified into single and composite types. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, embroideries and seonchigi or multi-colored stripes and seonchigi is often used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, seop, goreum or coat strings, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have no pattern on the surface and are commercially available irrespective of season. Git used for jeogori is largely classified into dangko git and donggrae git in type. Its color is in most cases same as the main color of jeogori. Keutdong for jeogori is usually 4 to 5.5 cm in breadth, classified as type II. Its color is in most cases white. Goreum for jeogori is usually large in length. Its color is most cases same as that of jegori or reddish purple or blackish red purple.

• 한국의상디자인학회지
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• 제17권2호
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• 한국의상디자인학회지
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• 제11권1호
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• pp.123-132
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• 2009

Our government has declared the "Synthetic Project for Promoting Han-style" to industrialize and globalize the original form of Korea traditional culture. Han-bok, our traditional folk costume is one of the main subject of this project. However it is the global trend not to wear their traditional folk costume. And so, the number of people wearing Han-bok, our traditional folk costume is also getting gradually decreased in Korea. For Han-style Promoting Project in the future, it is one of the most efficient way for the middle and high school students to motivate and increase the interest about Han-style and Han-bok as the middle and high school uniforms. Adolescent middle and high school students think very important their appearance. Especially, Korean middle and high school students spend a lot of time in school, and so school uniforms are very influential in their mental and physical aspects. Fabrics for this study, they were woven twill with 3 kinds of fabric patterns from the motif of Baekje relics. The colors of fabrics is the blue and brown used in general school uniform, the yellow and red used in Han-bok. Considering the school uniforms, fabric patterns adapted the similar color matching method for not to be found cleary and designed the fabric pattern's one-repeat size is $4{\times}4cm$.

• 복식
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• 제57권3호
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• pp.165-175
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• 2007

Religion affects all the dimension of human beings, and at the same time it forms one dimension of human beings. Costume Is considered as a result that reflects the phases of the time and the characteristics of a wearer. Costume, also, has been influenced by religion that has led one's belief, social spirit and culture for a long period of time. The Eastern aesthetics has expanded the area of thoughts with the concepts that originated from Buddhism, Taoism, and Confucianism. Among the concepts, Non-Dualistic Theory is the core idea of Buddhism.'rho theory contains the moaning that one should not lean to one side between existence and nonexistence and should not be obsessed with the center. It was the most powerful Buddhistic idea that had an influence on Asian aesthetics. Korean traditional costume is not an exception. This study has a significance that it was conducted to understand the relation between religious principle and traditional custom through mainly using documentary records. The formative characteristics of Korean traditional costume influenced by Non-Dualistic Theory ran be summarized as non-structure like, indeterminate forms, amorphousness and anti-decoration such as plainness, temperance and achromatic color. Aesthetic value was expressed through 'the aesthetic of emptiness', 'the aesthetic of hiding', and 'the aesthetic of nature'. Although the appearance of a religious symbol can change, an essential element in religion lasts as human society remains. Although our clothing culture has converted to western style, Korean traditional aesthetics is placed deep inside of 'the Koreans' spirit and has a consistent effect on our overall culture of clothing.

• 한국의상디자인학회지
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• 제11권2호
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• pp.85-98
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• 2009

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yo tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery pattern has a high artistic value in that its shapes are diverse and splendid and each one has its own peculiar elegance. As for the research method, I examined the Yo tribe's history, culture, traditional costumes and design patterns through related books, research papers, internet sites, and etc. The results of the paper are as follows. The Yo tribe's costumes consist of a jacket, trousers or a skirt, an apron and a belt. Although the color of the costumes is all black, there are splendid embroidery decorations with the colors of red, orange, yellow, green and white on the chest or shoulder part of a jacket, the adjusting lines, cuffs, or a part of a trousers and aprons. The types of the patterns represented in the Yo tribe's traditional costumes are related to nature, ancestor worship, ethnic legends, history, religion, and agricultural lives. The method by which the Yo tribe expressed on their costumes is a "peach-blossom" technique, which uses cross-shaped embroidery with wrap and woof threads. Because it is not apt to express delicate and detailed patterns, the Yo tribe's patterns tend to show abstract and geometrical forms.

• The International Journal of Costume Culture
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• 제3권2호
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• pp.161-174
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• 2000

Today's advanced transport and mass media enables people to access easily and frequently to traditional costumes from different countries in the world. Consequently, fashion designers who are fascinated by the variety and beauty of traditional costumes, tend to adapt them to modern fashion design. The continuous study of traditional costumes at such time contains a meaning as a source of inspiration for the creation of a new fashion design. Therefore, among various costumes of the world, this study will focus on the costume of Palestine, that is situated at the crossroads of Europe, Asia and Afria and has exchanged various historical cultures with other cultural regions. It, especially, expects to provide a unique idea in the material modification field of today's fashion design by examining mainly the embroidery ornament which is the most distinctive feature of Palestinian costume. The conclusion was revealed that Palestinian women's costume largely consists of embroidered silk and cotton garments with a V-slitted square panel (gabeh) attached to the chest part. And a variety of luxurious embroidery was employed to emphasize different parts of the dress. These embroideries differ from area to area. Especially the embroidery from Bethlehem was well-known in many places and influenced those of other regions.

• 복식문화연구
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• 제9권4호
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• pp.664-676
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• 2001

This study highlights the homogeneity in the heritage of the costume cultures between the Gulf of Aden, a part of the Horn region of Africa and the Arab region of West. Asia. Specifically, a cross-cultural perspective is used to examine the similarities between the two regions based on their (1) geographic living cultures and (2) the use of a costume accessory called Burga-a face veil. The current trend in research on the traditional costume culture of Africa mostly ties art with the traditional costume culture and examines its from an aesthetic or animalism perspective rather than from a cross cultural Perspective. Compared to Previous research in this area this study used literature reviews and Pictorial analysis to analyze costume cultures from a cross-cultural perspective. The Burga, which is worn in the low lands of the Horn region, which is located between the West Asia and African continents, as well as the Arab region, shows a reciprocal cultural exchange between the two regions. Similarities can be found in the shape, design, decorative elements, and the way the Bursa was worn in two regions. Although the Burga as a face veil is only a small part of a costume, it reaffirms the similar living cultures and geographic characteristics of the two regions. As the living culture environment becomes similar around the world, this study should help with cross culture negotiations as well as forther the development of traditional costume research.

• 복식문화연구
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• 제13권4호
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• pp.658-670
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• 2005

Kublai Khan on a Hunting Trip were painted by Liu Guan-dao. This painting gives us very important information for understanding cosume of Yuan dynasty because of realistic description. We studied the name of costume of the king Shizu in this painting by using the way of comparison his costume with another paintings, the records and archaeological finds. This study showed that the costume of the king Shizu is judged to be Jisun, the traditional costume of Mongolian own meaning one colour. The name of each is the Yinshu warm hat, being making into the for of a kind of rodents, the Yinshu Jisun, the Red colour Jisun, being railed on the robe, and the Cloud boots cover. And we found that the decoration on the neck and sleeve tib of the Yinshu Jisun had been made by sable furs, and the decoration on the surface had been made by tails of them, going by the name of Rondes at that time. It also showed that the meaning of one colour of the Jisun is not only just appearing one colour on the one person but also being able to appear two set of one colour.