• 대한가정학회지
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• 제43권8호
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• pp.69-81
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• 2005

The purpose of this study is to design high school boy's uniforms, which fit well and express the traditional aesthetics of Korean clothing. Korean traditional clothing is getting ground for the use as active wear as well as formal wear such as wedding or special holiday clothing. This is partly due to the introduction of western clothing in Korea because of the practical nature of this type of clothing. This study was carried out as follows: 1. First, 197 high school boys from 5 different high schools were surveyed. All of these schools use Korean style school uniforms. The survey asked the students about their satisfaction with the current designs, problems and design preferences for Korean style high school uniforms. In general, the boys are not satisfied with the aesthetic and fashionable aspects of their uniforms. 2. The second survey dealt with design preferences from a variety of design options of Korean-style school uniforms. The design options were presented to the students as in the form of 10 different types jackets and 6 different types of pants. Using the results of the second survey as a guideline, the designs of Korean style school uniforms were developed. 3. In order to make the test garments, a block bodice pattern for the Korean style school uniforms was developed. Using the developed bodice block pattern, 6 designs were made of wool. The 6 test designs consisted of 3 different types of jackets and 3 different types of pants. 4. Incorporating the most preferred design features, school boy Korean style school uniform designs were developed. The characteristics of the design include neck line opening and its finishing, AH and sleeve shape, embroidered traditional patterns and fastenings. In this study we were able to develop comfortable clothing, which expressed the traditional aesthetics of Korean clothing.

• Child Studies in Asia-Pacific Contexts
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• 제6권1호
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• pp.31-46
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• 2016

This study explored types and characteristics of South Korean crossover picturebooks that are enjoyed across generations. Participants included three publishers, six critics, six illustrators and three picturebook researchers, and focused on 92 South Korean recommended picturebooks published from 1995 to 2014 as the research material for this study. The majority of Korean crossover picturebook type was story, followed by information and art. There were few wordless books. Common themes of the story picturebooks were contemplation, traditional culture, social changes (such as immigration and redevelopment), reminiscence, social relations, loss and death, family problems, and social incidents. Classic essays and novels were revised for picturebooks as were famous poems originally written for grown-ups. Informational books were about traditions in music, architecture, furniture and special occasions like wedding and ceremonies. The style of the drawings were precise and realistic. Some drawings were done by brush and Chinese ink on hanji (traditional Korean paper) or silk. Some books featured Korean calligraphy as well, enabling adult readers to also appreciate the beauty and delicacy of the books. Art books and wordless books were quite rare and exhibited a playful tone. Adults alone were not presumed to be the primary reading audience of the picture books. Implications were made for picturebook marketing in a society such as South Korea, where the elderly population is rapidly increasing. Various forms of art books and parodies were also welcome. One conclusion of the study was that more experimental and innovative works would be encouraging for the development of South Korean crossover picturebooks.

• 대한가정학회지
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• 제11권2호
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• pp.147-165
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• 1973

One of the characteristics of feudal society is the control of the dress and ornamentation which stand for various social classes and personal relationships. Throughout the Yi-Dynasty, certain forms of dress and ornamentation were controlled or prohibited by the government. For instance, there was a Ban on the use of gold and silver for ornaments and silks or satins for dresses, and the violator was subject to severe punishment according to the penal laws. This seems to have been done more for symbolism and the dignity of the various social ranks and powers than as an economic measure against foreign products. The use of yellow cloth, for instance, was once banned out of blind submission to the traditional practices in China, then the most powerful nation in Asia. The working classes were prohibited to use any silks of foreign production. This was done to discourage a spirit of wasteful luxury and the tendency to prefer the often higher quality foreign product. The government regulated the class of the traditional wedding ceremony, again as a means of both encouraging economy and reestablishing the distinctions between the classes. In spite of these attempts at control by the government a large trade in smuggled goods was still carried out. This had the effect of impeding the development of the clothing industry in the country.

• 가정과삶의질연구
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• 제22권5호
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• pp.253-264
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• 2004

The objective of this study was to investigate the change of the level of the performance of family rituals and socialization of them, and to compare the change of the attitudes between daughter and mother generation. Research data were collected in 1992 and 2002 from families living in Seoul. Housewives and university students from these families completed the questionnaires. Major findings were as follows: Most of the family performed the birthday parties, traditional rituals, and memorial days. The level of the performance of the birthday rituals, and rituals from western culture has increased for a decade. The socialization of the following family rituals is increasing: banquets for parents' 60th birthday, wedding anniversaries, employment ceremony, commencement ceremony. There was significant difference in the attitude between younger and older generations regarding performance of the family rituals between 1992 and 2002.

• 한국의류산업학회지
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• 제9권1호
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• 복식
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• 제64권5호
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• pp.154-167
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• 2014

This study explored culture adaptive attitudes and donning practices of traditional dress among Chinese marriage immigrant women. Quantitative research was conducted on Korea-Chinese multicultural families. Participants were 291 married women in Seoul and Gyeonggi Province. The data was analyzed using frequency analysis, factor analysis, t-test and correlation analysis. The findings are as follows: First, positive relationship was found between Hanbok acceptance attitudes and Qipao transmission attitudes. The level of Qipao transmission attitudes was higher than Hanbok acceptance attitudes especially in the part of knowledge. Han Chinese showed stronger Qipao transmission attitudes than Korean Chinese. Immigrants without Korean nationality had stronger Qipao transmission attitudes. Higher education group and higher income group showed higher level both on Hanbok acceptance attitudes and Qipao transmission attitudes. Second, more than 50% of Chinese marriage immigrant women wore Hanbok once or twice per a year. On the other hand, only 24% of them wore Qipao. This result shows that there exists a gap in the Qipao transmission attitudes and donning practices. 44% of women wore both Hanbok and Qipao in their own wedding ceremony, 32% wore only Hanbok, and 19% wore only Qipao. 64% of women had an experience of wearing Hanbok on special days such as traditional holidays or family affairs, whereas only 29% had worn Qipao.

• 감성과학
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• 제25권4호
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• pp.33-44
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• 2022

최근 들어 한옥마을과 같은 전통문화를 즐길 수 있는 장소에서 한복 대여를 통해 남녀노소 누구나 쉽게 한복을 체험할 수 있게 되었다. 또한 한복을 착용하는 데서 그치지 않고 인증샷을 찍어 SNS에 공유함으로써 한복 체험이 선풍적인 인기를 얻게 되었다. 하지만 한옥마을과 같은 특정한 장소에서 할 수 있는 한복 체험을 제외하고는 일상생활에서 한복의 대중화는 어려운 실정이다. 따라서 한복을 일상복으로 대중화하기 위해서는 한복의 편의성뿐만 아니라 한복에서 느껴지는 감성적인 만족까지 반영하여 한복을 디자인을 하는 것이 중요하다. 본 연구는 선행연구를 통해 추출한 한복에서 느끼는 소비자의 감성을 표현하기 위한 감성 어휘 28개를 활용하여 한복 유형별로 느껴지는 소비자의 감성을 7점 리커드 척도로 측정하였다. 그리고 한복 유형별로 '느껴진다'에 해당하는 5점 이상의 점수를 기록한 감성 어휘와 감성 카테고리를 분석하였다. 또한 한복 유형별로 성별에 따른 감성 카테고리의 평균차이를 검증하였으며, 그 결과 호감 카테고리에서만 남녀 간의 유의한 차이가 있었다. 마지막으로 한복 유형을 전통 한복(배냇저고리, 색동저고리, 성인 전통 한복, 전통 혼례복)과 현대 한복(아동 생활 한복, 여자 생활 한복, 남자 생활 한복)으로 구분하여 감성 카테고리의 평균차이를 검증한 결과 6개의 감성 카테고리인 '유쾌감, 심미감, 조화감, 신선감, 호감, 안정감'에서 전통한복과 현대한복 간의 유의한 차이가 있었다. 본 연구에서 도출한 한복 유형별로 느껴지는 감성어휘에 대한 분석 결과는 소비자에게 보다 감성적인 만족을 제공하는데 도움이 되리라 기대된다.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 한국식생활문화학회지
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• 제28권5호
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• pp.425-437
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• 2013

The aim of this study was to establish the identity of Korean traditional food based on the recorded food preferences during the period of the Chosun Dynasty. Our primary source in this regard was the invaluable, historical document called the "Miam's diary." This important document reveals details of such food preferences from October 1567 to September 1568. By analyzing the income-expenditure trends of virtually every household, this diary was used to describe a vivid traditional food preference of the people during that period. A detailed analysis of the diary reveals the summary of families' characteristics in the 16th century. First, it records the fact that expenditure on food was mainly based on stipend and gifts received. The type of food preferred by the people was diverse in nature; for it included rice, bean, chicken, pheasant, and seafood. However, there were dried or pickled forms too so as to prevent them from undergoing decay. Second, it throws light on the fact that people expended food mainly as a salary for servants. People utilized the income from selling such food items to purchase goods and land. They also used the same either to donate for a funeral or wedding purpose. Third, it records the fact that day-to-day purchase of groceries was mostly based on gift(s) for someone close to them such as a neighbor, colleague, relative, or student. Further, such gifts included small groceries, food items, and clothes. Fourth, based on the data available in the diary, it seemed likely that the gentry families laid emphasis on the customary formalities of a family dating back to as early as the late 16th century. Finally, the document also records the fact that noblemen of the Chosun Dynasty had a notion that they had to extend warmth and affection by presenting generous gifts to their guests at home. Noblemen during that period were very particular in welcoming their guests as they believed that this approach alone would testify their status as noblemen.

• 헤리티지:역사와 과학
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• 제56권3호
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• pp.76-98
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• 2023

국립중앙박물관 소장 《회혼례도첩》(덕수6375)에 묘사된 남녀 등장인물의 복식을 분석하고 《회혼례도첩》의 제작 시기를 추정한 결과는 다음과 같다. 첫째, 주인공 노신랑은 <전안례도>와 <교배례도>에서는 평소 관원으로 착용하던 흑단령을 착용하였다. 그 외 <헌수례도>와 <접빈도>, <중뢰연도>에서는 패영 없는 자립에 옥색 포, 홍색 세조대를 둘렀다. 기럭아범은 자립에 귀 옆에 묶은 패영을 달고 흉배를 부착한 무문 흑단령을 착용하였다. 성인 남자 자손과 하객들은 도포 등 당시의 대표적인 포 종류를 착용하였는데 특히 무관으로 추정되는 인물들은 철릭, 직령을 착용하고 붉은 색 띠와 청색 계통의 띠를 신분에 맞추어 착용하였다. 징씨(徵氏) 등 안내자는 중치막과 홍단령을 착용하였으며 어린 동자들과 시동(侍童)은 중치막을 착용하였다. 술을 따르고 음식을 나르는 총각들은 땋은 머리에 소창의(小氅衣)를 입고 성인들은 전립(氈笠)에 소창의를 착용하였다. 군영 소속의 세악수들은 소색 소창의에 흑색 전복, 그리고 허리에 남색 포대 등 군복을 착용하였다. 둘째, 노신부는 <교배례도>에서는 거두미와 초록원삼 차림을 하였고 <헌수연도>에서는 남치마·옥색저고리 차림이 확인되었다. 여자 자손들은 어여머리에 비녀와 반자, 진주댕기 등의 칠보장식을 하였고 다양한 색상의 저고리에 남색과 홍색, 옥색 등의 치마를 입었다. 남치마에 초록 장옷을 입은 부인도 확인되었다. 홍치마에 초록색 회장저고리를 입은 <교배례도>의 동녀(童女) 4명은 낭자머리에 비녀 꽂고 도다익 댕기를 길게 드리웠으며 칠보족두리를 썼다. 비자(婢子)들은 어여머리에 가리마를 썼으며 양반 부인들과 유사한 치마·저고리를 착용하였으나 색상이 연했고 치마의 길이가 짧았으며 치마의 부풀림 정도가 약하였다. 기녀는 양반 부인과 비슷한 모습이었으나 색상이 덜 화려하였으며 어여머리에는 칠보장식이 없었다. 셋째, 주인공의 자립 착용, 철릭과 직령을 입은 하객들, 군영 소속 세악수 참여 등에 근거하여 회혼례의 주인공이 병조나 군영과 관련된 인물이었을 가능성을 제시하였으며 군영 악대의 전복의 소매 길이와 잠화 사용, 어여머리의 형태와 댕기, 저고리의 길이와 치마의 부풀린 형태 등에 근거하여 《회혼례도첩》의 제작 시기를 1760년대~1780년대로 추정하였다.