• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.15-30
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• 2017

The purpose of this study is to analyze the formative characteristics of Hanbok among youngsters based on SNS proof shots, identify new characteristics of Hanbok as part of play and travel rather than as formal Hanbok, and provide information for the Hanbok market. As research methodology, our search was carried out by using '#Hanbok Travel' as the search word in Instagram, where the Hanbok proof shot phenomenon is actively under way. A total of 535 posts from March 21, 2016 to April 1, 2016 were selected as objects of this study, excluding posts containing Hanbok with indiscernible shape, Korean traditional costume manufacturers' promotional posts, and repetitive posts by one person. First, the 535 posts were analyzed by season, region, number of people, and gender, and after men's data were excluded, 644 Hanboks were left for analysis. Their formative characteristics were analyzed by using SPSS 21.0. The results showed that the formative characteristics of Hanbok shown in SNS proof shots included diversification of length in jeogori(Korean traditional jacket), skirt, and sleeve, use of pragmatic material and achromatic color, and reduced use of decorative technique. Hanboks shown in the Hanbok proof shots should be considered as significant data because each shots show clothes selected and worn directly by user's side, unlike the existing studies centering on Hanbok designers' works.

• Fashion & Textile Research Journal
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• v.19 no.1
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• pp.11-18
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• 2017

The purpose of this study is to investigate the trends of Hanbok pattern research published in journals and theses. We collected 70 articles related to the Hanbok pattern. The articles were divided into 7 chronicles based on publishing year, and analyzed by journal, publishing year, research theme, wearing subject and research pattern. Researches can be categorized into journals, university research paper, and master's theses. After 1981, studies on the pattern of Hanbok have been continuing. Most researches were focused on traditional Hanbok, especially about Jeogori. Research on modernized Hanbok started from Vchronicle(2001~2005), but it has not progressed anymore. According to the analysis on wearing subject, the number of research for female Hanbok was almost three times that of the male. Most researches were performed on adult Hanbok, and subjects were expanded to children, adolescents and middle-aged. The body shape of the wearer did not mentioned on many articles. Pattern researches started from excavated costume, but most researches were about commercial patterns. These researches on the pattern on Hanbok have shown an increasing tendency as the years passed, but researches on modernized Hanbok, including Hanbok pattern development for modern life style should be conducted more actively. In an aging society, as the number of middle-aged consumers increases, pattern research on middle-aged or older people and their various body shapes should be necessary.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.631-655
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• 2022

Modern Hanbok tends to use new colors based on traditional colors and their symbolic meanings. In addition to the traditional colors, various expressions have been increased, it is necessary to consider the color and color trend used in modern clothing. This study focused on the period 2011 - 2020 and analyzed the main color and coloring method of top and skirt by year with 450 data from a total of 81 wedding magazines. The results of examining the characteristics of traditional colors during the target period are as follows. First, the main color of the Jeogori showed a distribution of various colors in the first half, but the main color of the skirt concentrated on black, white and light pink in the second half. Second, while the use of blue and green systems decreased, Dang-ui color changed to warm yellow, green, and red systems. The Baeja used plain dark white in the first half; however in the latter half, they changed to white or accented colors. The one-piece used various colors in the first half, but only black and white appeared in the second half. Third, in the upper and lower colors of Hanbok, the blue-red color, the traditional contrast color of the first half, decreased significantly in the second half. The appearance rate of proximity for the complementary color harmony of white-red color and the adjacent color harmony of white-blue increased.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.67-77
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• 2012

Hanbok of dolls can be a good medium that can given with value of traditional cultural products, however, it is not easy to see hanbok and its pattern from dolls. Especially for the case of rag doll which is closely related to the life of users, it has enough value as traditional cultural contents, however, there have been not sufficient studies on its pattern development and classification of form of dolls. Therefore, by classifying the body type of dolls by its pose, this study aims to provide a basic data for the development of hanbok pattern. This study looks into the origin and meaning of dolls and the definition and features of rag doll, then, it collected pictures and data rag dolls produced by 29 domestic companies. Through the data collected, the six different types of dolls, 'Sitting Style', 'Standing Style', 'Lying Style', 'Cushion Style', 'Quadruped Sitting Style', 'Quadruped Standing Style', were classified into form. In the future, I hope the result of this study can be used as useful data for toy manufactures and cultural business in relation to development of rag doll and at the same time as a basic data for development of hanbok pattern development of rag dolls as traditional cultural goods.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.151-165
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• 2020

In this study, the pattern of texture was developed by applying the pattern shown in the Amita Yeoraebul and the Avalokitesvara with symbolism suitable for children's clothing. In addition, the design and the manufacturing of a children's wearable Hanbok were attempted, and the results are as follows: Amitha Yeoraebul is a Buddha who oversees paradise in Buddhism, and Avalokitesvara controls both paradise and the real world and provides mercy. Applying the various patterns in the Buddhist paintings, four daily hanboks for children were produced using patterns featuring symbolic the meanings of large round original patterns chrysanthemums, turtles, and lotus patterns. The lotus symbol represents love, nobility, and wealth, while the turtle symbol represents longevity, the chrysanthemum pattern symbolizes auspiciousness, and the large round original pattern means a constant continuation. To maintain the traditional hanbok form but allow convenient wear it in daily life, it is made in the jeogori + shorts, vest + long pants, and one-piece + jacket style. Currently, the daily dress of Hanbok and the modernization of traditional Korean clothes are being promoted. At this point, the study developed Hanbok fashion products that contain symbolic stories suitable for children are trying to maintain the image of traditional culture as much as possible.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.4
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• pp.615-631
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• 2024

In the fashion industry, cultural borrowing-often championed for promoting diversity-is notably prevalent in the editorials of fashion magazines. However, when scrutinized through a postcolonial lens, this practice reveals a tendency to reinforce Western power structures. This study focuses on instances of orientalism and cultural appropriation within editorials featuring Hanbok in domestic licensed fashion magazines, examining the implications of such instances. The findings reveal three key aspects: first, the creation of a sensual female image intertwining sexual fantasies about Asian women with enigmatic Hanbok aesthetics; second, the utilization of traditional culture, including Hanbok, in luxury fashion's premiumization strategies, thereby perpetuating stereotypical images through self-exoticization; and third, a decontextualization trend that presents traditional cultures and Hanbok from diverse origins together, irrespective of context. This research contributes to the literature by addressing postcolonialism and cultural appropriation, specifically offering insights into the media's role in the modernization of traditional culture in the long term.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.272-288
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• 2021

The purpose of this study is to classify the types of decoration techniques used in women's Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.75-87
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• 2003

The objectives of this study are to consider the shape for children's Saenghwal Hanbok and to analyze the trend up to date. Conclusions are described as follows: 1. Children's Saenghwal Hanbok was found in magazine about Hanbok from 1994. The design was various, for it was influenced by adult's Saenghwal Hanbok. From 1997, design of children's Saenghwal Hanbok was come to stay in a revival mood. 2. The Jeogori shape for children's Saenghwal Hanbok was as follows: Git was used several traditional git and western color from the initial to the recent period: Dong-Jeong was not attached in the initial period, but mostly attached with its ends sauare from 1997; Seop was not attached or transformed in the initial period, but attached in a traditional way (trapezoid-shaped) or a new way(rectangle-shaped) from 1998. The front was fastened on the right chest; the sleeves wert long or above-elbow or three quarter sleeve; Baerae was a curved shape in the initial period, but changed into a near-straight line with a slight curve; Jin-Dong line was straight for boys, but curve or not to be tot girls; Pocket was attached for boys, not attached for girls.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.4
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• pp.657-675
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• 2020

This study suggests a direction for design development through an analysis of the experiential rental Hanbok design in Jeonju Hanok Village. As a research method, 268 outfit photographs of tourists wearing experiential rental Hanbok for women were collected as design analysis data from Jeonju Hanok Village. Frequency analysis was then performed by dividing into form, color, material·pattern, and detail. The controversy over the design of experiential rental Hanbok revolves around how and how much tradition is reflected. This is a very important part of the design analysis and development direction. If necessary, traditionality was discussed using the Hanbok style of the Joseon Dynasty as a standard. Development directions derived from the analysis are summarized as follows. First, avoid the distorted shape of skirts. Second, develop underwear for traditional silhouettes. Third, expand traditional colorations and avoid the excessive use of accent colors. Fourth, it is necessary to develop rental Hanbok materials with decorative features. Fifth, there is a need to design flat pattern construction for rental Hanbok that reflects a standardized production method and a changed aesthetics.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.126-134
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• 2014

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950' and 1980', and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950' to 1980', generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960', wide collar and collar strip were trends, but from 70' to 80', they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950' to 80', generally wide and round shape sleeve were used. Also, from 50' to 80', normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.