• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.8
• /
• pp.1209-1219
• /
• 2000

The importance of souvenirs are increasing immensely these days owing to the increase of foreign visitors to our country, which forces us to turn our eyes to this field. Upon these reflections, this study aims at aims at developing cap designs that satisfy the foreign tourists needs and let them recognize the outstanding beauty of Korean traditional patterns by applying traditional motifs. The Korean traditional patterns and their symbolic meanings were researched as well as the previous studies on the designing of goods for foreign visitors which had traditional patterns applied. Furthermore, the overall tendencies of the purchase of souvenirs and goods by foreign tourists in Korea as well as in foreign countries were investigated. Next, the present state of apparel goods and caps for sightseers in Korea was analyzed according to their shapes, colors, and patterns. Finally, by using CAD system, new cap designs were developed applying traditional bat motifs in order to capture the traditional images for a modern sense of beauty.

• Journal of the Korean Society of Costume
• /
• v.57 no.10
• /
• pp.129-141
• /
• 2007

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

• Journal of the Korean Institute of Rural Architecture
• /
• v.14 no.1
• /
• pp.91-98
• /
• 2012

This study is aimed to survey on the perception of residents about general contents and current status of urban traditional houses in Cheongju. A study on methods is using questionnaire which 12 items of attraction in Urban Traditional Houses and experimental study focusing on residents in Seowoon-dong and Seokgyo-dong where traditional houses are concentrated. As a result, residents of urban traditional houses were categorized 6 sectors, which 4 sectors of Seowoon dong and 2 setors of Seokgyo-dong, caused by the road construction. The urban spatial structures of these sectors are maintained, comparing with aerial photography on 1960's. And residents recognize eco-friendly attraction higher than awareness on traditionality, locality and aesthetic beauty. It is proposed to prepare political alternative about traditionality, locality and aesthetic beauty. Low awareness about traditionality and locality have influenced that residents hope the change of the traditional houses.

• Journal of the Korean Society of Costume
• /
• v.53 no.5
• /
• pp.13-22
• /
• 2003

The purposes of this study are to develop a Korean image clothing design for cultural products by using the literary artist´s works and to satisfy the demand of the local self-government and of Gwangju ㆍChonnam area´s small and medium-sized companies. The image of traditional Korean clothing can be expressed with adjectives like Pure, plain, rhythmical, neatness, plentiful, and calm etc. These attributes are similar to the characteristics of the literary artist´s style, which is expressed as suggestive, animated, spatial, possibility of stationary, serene and still. The features of the traditional Korean clothing design can be described as ´The Beauty of Elegance´, ´The Beauty of Plainness´, ´The Beauty of Asymmetric Balance´ and ´The Beauty of rhythm´. It can be expressed in the modern fashion design, which is developed through the combination of the most important feature like ´The Beauty of Space´ in the literary artist´s style. At the time of production we tried to express spatial beauty and plentiful taste of the literary artist's style in the clothing design of Korean image for cultural products by considering the balance between them. Six works of the literary artist were selected which satisfied the purpose of the developed clothing design item. The results were nine clothing designs of Korean image, like a skirt suit made up of a blouse and a skirt, a pants suit made up of pants and a jacket, two evening dresses with a shawl, and also T-shirts and one-pieces etc.

• The Research Journal of the Costume Culture
• /
• v.20 no.4
• /
• pp.485-499
• /
• 2012

This study suggests designs for fashion-cultural products that can communicate the uniqueness of Korean traditional culture. To this end, motives and printing patterns were created based on the formative beauty of traditional sewing crafts. A literature review was completed to identify characteristics of Korean traditional sewing, and the motives were developed through Adobe Illustrator CS4 and Adobe Photoshop CS4. Those motives were applied to handkerchiefs, neckties, pouches, and handbags. The sewing crafts used in this study included thimbles, bobbins, and chumoni (a Korean traditional pouch). The motives were produced in a manner that best exemplified the unique formative beauty of the sewing crafts while also presenting modern images of the crafts. The motives from thimbles reflected the lateral side of their originals, while the motives from bobbins adopted fan- or rectangular-shaped bobbins. The motives from chumoni were based on Duruchumoni and Guichumoni. A total of 12 motives were developed, and a total of 36 textile designs were suggested based on those motives. A total of 42 designs for fashion-cultural products, including handkerchiefs, neckties, pouches and handbags, were developed. Among them, motives applied to handkerchiefs were expanded to apply to scarfs, as well.

• Journal of the Korean Society of Costume
• /
• v.63 no.3
• /
• pp.33-45
• /
• 2013

This work developed the basic motive design utilizing the physical beauty of the traditional ornaments used uniquely by Korean females and suggested some textile designs and fashion cultural product designs. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as well as literature examination. The motive was mainly based on the dwiggoji and ddeoljam, which are female ornaments. The formative shape in woman ornaments was classified into four kinds: plant, animal, geometry, and hybrid. The hybrid type was divided further into such combinations as plant, animal, and geometry, which came up with 8 fundamental motives for design development in total. With regard to the basic motive design, the coordinated concept was adopted with a combination of traditional taste and contemporary taste in harmony for the expression of delicate image on the condition that the basic format in female ornament is maintained. Textile design was processed with symmetry, rotation, repeat, and overlap as fundamental motive. As to the design for fashion cultural products, design mapping was proposed for neckties, handbags, clutches, shirts, and one-pieces. Utility and beauty in the traditional ornaments unique to Korean women could be recognized once again through this work. This work also assured the possibility for the endless improvement as a design development motive with originality.

• Journal of the Korean Society of Fashion and Beauty
• /
• v.5 no.1 s.12
• /
• pp.87-96
• /
• 2007

Patterns have their own shapes and characteristics as a symbol in accordance with in what environment they are like a language. Especially our ancestor had wished present values as like riches and honors, longevity and health, love and happiness through all kinds of patterns of animals, plants, the sun, the moon, cloud, water and mountain, and expressed an aesthetic consciousness. Pattern design is important in fashion but it is insufficient in terms of the development of modern patterns based on Korean traditional patterns. Therefore, We need to create new senses and thoughts through the understanding and re-analysis about Korean traditional costume and a study on optical patterns could give an extreme effect without any changes of silhouette. Especially, Emilio Pucci and Missoni have been developing a variety of Pattern designs even though there are different tendencies each other. Consequently it could be a good chance to show Korean images and originality that develope the various textile patterns with applying to Korean traditional patterns based on an analysis of their works.

• Journal of the Korean Society of Costume
• /
• v.64 no.6
• /
• pp.47-64
• /
• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• Journal of the Korean Society of Costume
• /
• v.56 no.6 s.105
• /
• pp.114-131
• /
• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• Journal of the Korean Society of Costume
• /
• v.48
• /
• pp.5-24
• /
• 1999

The globalization of Korean beauty comes partly from the succession of korean traditional culture and its modernization will be the one of very important issues in 21st century. This paper was done in order to analyze the process of Korean design development in modern Korean fashion in terms of the succession and modernization of Koreantraditional Beauty and based on this analysis also suggest new possibilities for successful globalization of Korean traditional beauty andbased on this analysis also suggest new possibilities for successful globalization of Korean fashion in 21st century. 227 fashion designs which represent typical elements of korean traditional costume were selected from fashion magazines books SFAA collection books and company brochures published from 1986, to 1997. Content analysis was used with 8 variables including 7 design elements(line shape, color, textile, motif, detail, accessories) and year. Results of analysis showed that the process of Korean Design development in modern Korean fashion has in the use of straight lines and simple silhouettes. Diversity could be found in the application of various kinds of outwear items as well as in the variety of materials and details. Symbolic tradtional motifs and accessories were used to enliven the Korean folklore image, These trends became more salient with the turning point of 1993 when a few designers began to participate in Paris Collection. For successful globalization designers should have more active attitudes toward exploiting the essence of Korean beauty and developing them as modern and global styles.