• 한국의류산업학회지
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• 제9권2호
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• pp.145-150
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• 2007

Recently, active movements are occurring to reestablish our own traditional Korean images in all levels of society. One of them is about Ordinary Hanbok. Academics and business sectors are endeavoring to develop comfortable and Korean traditional Hanbok designs and popularize them as well. Based on the facts, the study focuses on developing Ordinary Hanbok designs for women by applying Korean traditional patchwork in order to present handmade, humane senses. First of all, the backgrounds, history and preference of Ordinary Hanbok are discussed through literatures and precedent studies as study methodology. Then, the study is analyzing the formative beauty of Korean traditional patchwork that contains emotions of women in the Chosun Dynasty. After that, it shows Ordinary Hanbok designs developed for women by using checks, free style, and yeoiju patterns of the fabrics dyed with clay and Chinese ink that recently attract people in particular. The results are like followings; First, the limits that excessive transformation of Hanbok may cause the lack of traditional beauty can be covered through using a variety of images of Korean traditional patchwork. Second, diverse face configuration of patchworks has very unique geometric forms so to be easily applied to modern Ordinary Hanbok designs. Third, the sewing technique of patchworks also plays a role as a design factor as important as face configuration. Fourth, utilizing fabric pieces may result in various unplanned face configuration and help resource recycling. Fifth, it is possible to coordinate Hanbok with other ordinary clothes that people normally wear on. Sixth, using patchworks images can encourage developing more active and refined designs added with traditional beauty. Seventh, natural dying and fabrics are eco-friendly, which is good for human health and environment. Finally, more studies should be done on design development based on precedent studies about Ordinary Hanbok. Also, it is important to foster social atmosphere and circumstances where people accept wearing Ordinary Hanbok as our natural culture.

• 한국가구학회지
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• 제25권2호
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• 한국의류산업학회지
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• 제3권2호
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• pp.131-139
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• 2001

The fashion designers in Korea can achieve the winning position in the competitive international market of fashion industry by adapting our own traditional beauty to the modem fashion design through the modernization of the Korean traditional styles. Therefore, this study attempted to analyze the works of the active Korean fashion designer, Lee Young-Hee, focusing on the subject how she incorporated the modem fashion with the elements of Korean traditional costume. In order to study this subject, both quantitative and qualitative research methods were used to collect and analyse the design elements of Korean costume used in the designer's works found from the major fashion magazines, FASHION TODAY, WWD, ELLE, BAZAAR, Marie Claire, Areumdown-Uri-Ot, The Beauty of Korea and FASHION SHOW from 1993 to 1999. The collected research data, 95 works, was counted and analyzed in terms of the formal characteristics borrowed from Korean traditional clothing items and their application techniques. Other aesthetic characteristics of her works such as color, fabric and pattern were also analyzed. As a result of the study, it was found that Lee Young-Hee has adapted many different kinds of major Korean clothing items including 'chima', 'paji', 'po', and 'chogori'. Also it was apparent to note that the formal characteristics of Korean traditional clothing items were successfully incorporated into her fashion design works expressing the beauty of oriental grace, naturalism, sophistication, and above all, the modem sense.

• 문화기술의 융합
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• 제6권2호
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• pp.387-395
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• 2020

한국 정자의 표준모델은 한국전통의 미를 구현하고 시대적 흐름을 반영할 수 있으며, 보편적이고 현실적인 모델을 개발 함과 동시에 국제적으로 한국 전통미를 알릴 수 있는 계기가 될 수 있다. 따라서 본 연구에서는 한국 전통정자의 사례조사를 통해 우리 고유의 전통기술을 계승하고 한국정자의 정통성을 보존하면서 생활화, 산업화, 활성화, 세계화 할 수 있는 표준모델을 개발하는 것을 목적으로 한다. 사례분석과 현대의 트랜드를 고려하여 각 부분별로 계획을 진행하여 전통정자의 대표적인 유형인 사모정, 육각정, 팔각정에 대해서 표준모델을 제시할 수 있었다. 표준모델은 정통성을 고려하면서도 활용도를 높이기 위해 난간마루를 설치하고 계자난간을 설치하는 등의 디자인 트랜드에 약간의 변화를 주었다. 이렇게 제시된 표준모델은 현재의 디자인 트랜드가 반영된 것으로 추후에는 그 때의 트랜드에 따라 다른 형태로 변경될 수 있다. 이번에 개발된 한국 정자의 표준모델은 한국전통의 미를 재현하면서도 보편적이고 현실적인 모델이라고 할 수 있다.

• 한국의상디자인학회지
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• 제16권4호
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• pp.189-203
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• 2014

In this study, Creative motifs using face composition of Jogakbo and Knot Symbol were developed, and applied to traditional Baeja of Joseon Dynasty to develop design contents of traditional clothes. As for study method, 7 motifs of new formative image that integrates traditional beauty and contemporary sense were developed by applying Knot Symbols and face compositions of Jogakbo with the use of Adobe Illustrator CS6 and Adobe Photoshop CS6 vector graphic software. The motifs were designed in contemporary image in face compositions like rectangle pattern, triangle pattern, dual rectangle pattern, vertical and horizontal pattern, pinwheel pattern, gojunmun pattern and free pattern by involving various changes like repetition, rotation, reduction, expansion and decomposition and using the colors used in the Jogakbo. It is desired that through this study, traditional Baeja may develop to bear traditional and contemporary image so that our traditional clothes design may become global. Also it is anticipated that this study will contribute to development of culture products of Hanbok like Jeogori, pants and skirt that require change of design in the global era while maintaining traditional beauty to appeal to the emotions of world citizens.

• 한국의류산업학회지
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• 제19권1호
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• pp.1-10
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• 2017

The purpose of this research is to industrialize and to localize traditional culture resources of Andong by developing festival costumes related to 'Andong Mask Dance Festival'. We tried several methods to deliver meanings and images of festival costumes, as followings. Frist, from April, 2009 to October, 2012, we created the new design of the festival costumes after consulting with 7 festival experts about the conditions and characteristics of 'Andong Mask Dance Festival'. The festival costume design is characterized by the detachable parts of clothing based on Han-bok style, the front and back of bodice, right and left side of both sleeves, and pockets, which can be tied up with strings. Therefore the consumers can choose and attach the part they want. Secondly, the newly created festival costumes were evaluated appropriately to the consumer's satisfaction, implementation, practicality, and long-term development possibility according to the survey of 85 participants who were, in fact, wearing the festival costumes in the festival. The results are as follows: Frist, festival costumes are based on Korean traditional costumes, and it appears wearing object as festival costumes. Secondly, traditional beauty and modern beauty are well matched up, so men and women of all ages are possible to wear. Thirdly, size of costume can be controlled, so it's easy to wear. Finally, construction method is very simple. The possibility of long-term development by various material development is needed.

• 복식
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• 제43권
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• pp.225-242
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• 1999

Generally people and their lives are the basic object of literary works. Although each literary work possesses a different degree of significance depending upon the author's intention the description of costume becomes an indispensable factor in the formation of characters and the social background. In this paper the types of men's and women's clothing in fashion from 1895 to 1942 are studied fior the purpose of understanding the correlation between hyo-Suk's description of the attire and the vogue of the time. Consequently it was clarified that his descriptions of costume have an analogy with the fashion during the era. Especially this study ascertains that the beauty of costume as a formative art emphasizes the altered inherited and developing traditional Korean beauty influenced by exoticism. In conclusion the aesthetic consciousness of Hyo-Suk Lee tells us clearly that the beauty of Korea is the universal beauty apprecialted regardless of place and time. Such an aestheitic consciousness is not rigid but continously transforming. his literarywork clearly shows a new aesthetic categry formed by combination of traditonal Korean beauty and the aesthetic consciousness of exoticism.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 추계학술발표대회 논문집
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• pp.113-117
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• 2007

Wabi-Sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty. It occupies roughly the same position in the japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West. All things air impermanent. All things are imperfect. all things are incomplete. it offers an aesthetic ideal that uses the uncompromising touch of mortality to focus the mind on the exquisite transient beauty to be found in aoo things impermanent. Wabi-Sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional. Wabi-Sabi is the art of everyday life. These may be the methods for the relationship establishment between human and space on the ground of Wabi-Sabl concepts which is commonly found no in contemporary interior space in japan.

• 복식
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• 제52권5호
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.

• 한국의류산업학회지
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• 제12권6호
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• pp.723-735
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• 2010

The purpose of this study is to analyze the types of Jumoni (pouches), which takes the most quantity of traditional women's handicrafts in China, and examine figurative characteristics of them through demonstrative study focusing on collections of literature and museums. Traditional Jumoni of China included Dae, Nang, Hapo, Tu, Hap, and Chimeui. Its types included a pleated type, a covered type with a lid, an opened type without a lid, and a type that was stitched up after putting objects in it. The Jumoni had various shapes such as a polygon, a circle, and shapes imitating objects. It was used to store cosmetic utensils, sewing supplies, everyday household utensils, valuables, medicinal ingredients, flavoring materials, and so on. It had various figurative characteristics which were different from those of women's handicrafts in Korea. Based on the findings, it aims to provide basic information for developing Korean traditional accessories that make the best of Korean traditional beauty as well as add modern esthetics have both Korean traditional beauty and modern esthetics.