• Journal of the Korean Society of Clothing and Textiles
• /
• v.45 no.3
• /
• pp.439-452
• /
• 2021

The purpose of this thesis is to compare the efficiency of 3D digital design technology with traditional hand-drawn designs of a transformable dress for a small wedding. After reviewing the literature, this empirical study analyzed the tendencies of small wedding dress design, concluding that a transformable dress for a small wedding consists of a bodice, skirt, and outer skirt or gown with train, each of which has five possible designs, resulting in 15 virtual items within the 3D program. The 3D program provides the benefit of easy design development as well as reduced costs and design time. Specifically, the random combination of 15 items with layers in the 3D program produced 150 different styles in 5 hours, while hand-drawing 150 dresses took 50 hours. Moreover, the 3D program does not need any material, but 150 physical drawings required a sketchbook, pencil, eraser, and marker, total cost 31,100 won. Additionally, the 3D whole-body scan helps the bride decide which design she prefers through virtual try-ons. Eventually, the 3D program could help a bride decide what she prefers and produce it with virtual simulation, resulting in reduced time and costs.

• Journal of Fashion Business
• /
• v.6 no.2
• /
• pp.29-40
• /
• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Journal of the Korean Society of Costume
• /
• v.56 no.1 s.100
• /
• pp.13-31
• /
• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of the Korean Society of Costume
• /
• v.60 no.2
• /
• pp.20-34
• /
• 2010

This study is intended to suggest the characteristic of dress and its ornament introduced in terms of naturalized words on Korean newspapers and magazines published from the age of enlightenment to the Independence(1876-1945). First of all, naturalized words in that period(1876-1945) can be classified into words originated in Japanese, words originated in western countries and borrowed words came from Japan. Borrowed words which came from Japan are almost related to Japan's traditional dress like Gudu, Gabang, Kimono, Nemaki, Ebijahagama, Hagama, Sirusibanden, Doriachi, Dombi, Sarumada, Sseumeeri, Doriachi, and Mombbe. Borrowed words originated in western countries are like Frock coat, Bonnet, Necktie, Chapeau, Scotch, Homespun, Chamois, Skirt, Spring Coat, Ribbon, Silk hat, Panama hat, Handbag, Pajama, Shawl, Apron, Cuffs, Pocket, Handkerchief, Morning coat, Combination-one piece, Rain Coat, Burberry, and Permanent, etc. Borrowed words came from Japan is Lasa[raxa], jokki[jaket], Les[lace], Veludo[velvet], Bbanss[pants], Oba[overcoat], Meliyas[medias], Shass[shirt], Manto[manteau], and Sebiro[civil clothes]. As we can see from the result of research, borrowed words from the age of enlightenment to the Independence was because of its special social situation, Japanese imperialism, they are divided into real western words and words came from Japan or Japanese. In terms of items, a lot of words related to men's suit and women's dress, accessory, etc. It confirms that men's dress was westernized in the whole part compared to partially westernized women's one. A lot of words used at that period are now adapted to Korean language and became the foundation of words used in the current dress and its ornament area.

• Journal of the Korean Society of Costume
• /
• v.43
• /
• pp.15-30
• /
• 1999

The Kosode(小袖) which is a traditional Japanese outfit with a narrower sleeve than the Kimono was worn under the court dress. Korean who first immigrated to Japan wore the Po(袍: the Korean clothes of the time) and introduced the outfit to the japanese people who adopted and integrated it into their daily wear. This outfit was labelled the Kosode(小袖) during the 13th century. The Kosode(小袖) eventually developed throughout centuries into today's Kimono. 기본포(基本袍). Kibonpo(Traditional Korean Basic Outfit), 袍형기본포. Mekibonpo(Traditional korean Outfit with Round Sleeves) 통수포 Tongsupo(Outfit with Narrow Sleeves) 고소데(小袖).Kosode(Traditional Japanese Outifit with narrow Sleeves) 후리소데(振袖). Furisode (Traditional Japanese Outfit with fluttering Sleeves)

• Journal of the Korean Society of Clothing and Textiles
• /
• v.25 no.4
• /
• pp.731-742
• /
• 2001

The purpose of this research was to evaluate the harmony of colors of the traditional Korean skirt and jacket. 3 colors of jacket and 6 colors of skirt were combined by 4 kind of colors tone. The Korean women college students and the American women college students (University of Wisconsin-Madison) were selected to evaluate the harmony of colors. It could be supposed that the different evaluation were caused by their different cultural backgrounds. The results of the research can be summarized as follows. When colors were combined with four tone(vivid, light, dull and dark), American students evaluated the same colors of red skirt and red jacket, green skirt and green jacket as harmonized coloration. But Korean students thought they were not harmonized. The yellow colors of jacket and the similar colors of red skirt were evaluated as harmonized by both Korean and American students. They evaluated the green jacket and the red skirt of contrast color as harmonized. The different tone of color caused the different evaluation of harmony of colors by both Korean and American students.

• Journal of the Korean Society of Costume
• /
• v.24
• /
• pp.47-58
• /
• 1995

The Study is to find out the thought of costume of the people who advocated the Wejung-chunksa. Conclusions are described as follows 1. The action to boycott western goods was the early response in the Wejung -chuksa Thought. The reason were in fear of ruin in chosun industry and worry about the westernizing the Korean. 2. The people of the Wejung-chuksa had the conservative character in order to maintain the traditional public order and the costume. They thought that costume have a role to distinguish between man and woman , the rich and the poor and so on. Therefore acceptance the wastern constume style meant that the Korean became a savage. So that they rejected the King's order about the dress-system reformation in 1884, 1895. That pointed that their ultimate purpose was to keep the traditional rule. 3. In appearance the purpose of the short-hair law was good for health. But it meant to destory the traditional order and to symbolize the civilization . Especially the short -hair in the people of Wejung-chuksa meant the destruction of the traditional rule and casting away the courtesy. Therefore they wanted to keep the value of the traditional costume.

• Journal of the Korean Society of Costume
• /
• v.65 no.6
• /
• pp.63-78
• /
• 2015

This study explored culture adaptive attitudes and traditional dress donning practices among Japanese women who immigrated to Korea after marrying Korean men. Quantitative research was conducted on Korean-Japanese multicultural families. Participants were 233 married women who emigrated from Japan to Korea currently living in Seoul and Gyeonggi Province. The data was analyzed using frequency analysis, t-test and correlation analysis. The findings were as follows: First, a positive relationship was found between Hanbok acceptance attitudes(HAA) and Kimono transmission attitudes(KTA). Both HAA and KTA had a positive relationship with ethnic identity. 43.3% of the respondents thought that they belonged both to Korean and Japanese ethnicity, 30.5% to Korean ethnicity, and 26.2% to Japanese ethnicity. Similar tendency (64.8% to bicultural identity, 31.3% to Korean, and 3.9% to Japanese) was found in the ethnic orientation towards their children. Both HAA and KTA had no difference in accordance with nationality, education and income level. Second, 70.4% of women had no experience of wearing Hanbok, and 90.1% had no experience of wearing Kimono. The women mostly wore Hanbok and Kimono for social events and family weddings.

• Korean Journal of Human Ecology
• /
• v.14 no.4
• /
• pp.631-643
• /
• 2005

The purpose of this research is to compare, according to tone variation of a red jacket, the preference of female college students from Korea and the U.S. for coloration in the traditional Korean dress. The results of the research can be summarized as follows: As to a vivid skirt according to tone variation of red jacket, students of both countries showed the different view in the preference for coloration of vivid red skirt and vivid. dark red jacket, and vivid orange skirt and dull red jacket, and vivid yellow skirt and light dull red jacket, and vivid violet skirt and dull red jacket. As to the light skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of light red skirt and light red jacket, and light orange skirt and light red jacket. As to the dull skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of dull red skirt and vivid light dull dark red jacket, and dull yellow skirt and light dull red jacket, and dull yellow skirt and light dull red jacket, and dull green skirt and dull red jacket, and dull violet skirt and vivid light dull dark red jacket. As to the dark skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of dark red skirt and dull dark red jacket, and dark orange skirt and vivid light dull red jacket, and dark yellow skirt and dull red jacket. As to the neutral skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of white skirt and vivid red jacket, and dark gray skirt and light red jacket.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.233-244
• /
• 1998

This research wants to find the possibility for new paradigm of modern Korean dress by accepting and harmonizing the tradition and the modernization of Korean design when Korean designers enter into Paris collection and express identity of Korean fashion, and investigates the characteristics of Korean design with concentrating on the works of Young-hee Lee, Shin-woo Lee, Tae-ok Jin who have exhibited their works at Paris Collection. For one of the above characteristics Young-hee Lee, a designer of Korean clothes, emphasized to build up image of Korean fashion as a form of Korea without any modification, and expressed universal western-style silhouette as Korean image by using traditional technique including dyeing and silk made by herself, quil-t and decorative saddle stitching. In the as-pect that a chain of work has made not by westernization of Korean clothes but by re-creation of Korean clothes, it suggested a new way of modern Korean fashion with harmonizing tradition with modernizations as of present based on our own dress tradition and have got good reputation from the press and the field in Paris as well. Therefore the tradition and the modernization of Korean design is not confronted or compromised in form, color, material, motif and decoration but has to be harmonized and reconciled independently in order that visual characteristics of dress can be made as one of Korean image.