• 한국의류학회지
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• 제21권5호
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• pp.946-955
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• 1997

The purpose of this study is to present the aesthetic values of the Korean traditional costume for developing 'Korean' fashion design can be accepted in general in the modern times. For this purpose, documentary studies about the aesthetic values of the Korean traditional art and Korean traditional costume were preceded. And the perception of the Korean traditional costume were studied according to Belong's two criteria, body priority/ clothes priority and open/closed. Next, the aesthetic values of the Korean traditional costume were re-defined. The results can be summarized as follows; 1) The aesthetic values of the Korean traditional art are the beauty of nature, the purity, and the pleasantry. As the beauty of nature is the important one, the purity is caused by the love of nature. The pleasantry is as a way of expression. 2) The aesthetic values of the Korean traditional costume through the documentary studies stand for as the beauty of nature, the purity, the beauty of evil's eye, the beauty of symbolism, the beauty of personality, the beauty of tragedy and the beauty of tradition. 3) Korean traditional costume are perceived as clothes priority and open. 4) The aesthetic values of the Korean traditional costume can be re-defined as the beauty of nature, the purity, and the pleasantry. The beauty of nature comes from the 'natural' look, the exposure of the fabric as itself and the organic lines of the Korean traditional costume. The purity comes from the geometrical squared clothing form of Korean traditional costume which doesn't revive the human body form. The Pleasantry is seen the colors and motifs of costumes that have the human's hope and incantation and the exaggeration and distortion of human body form.

• 복식
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• 제66권5호
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• pp.82-98
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• 2016

Korea and Japan have a cultural homogeneity because they were affected by China. However, each country has developed its own original culture due to their own national characteristic and endemism, In traditional clothing, though Korea and Japan share the same origin, they have developed their own form, Hanbok and Kimono, which have completely different looks. The differences in the traditional clothing is the result of the differences in each country's aesthetic sense, which is reflects in the artwork of those days. Ink-and-wash painting was the typical painting form in East Asia, so Korean and Japanese ink-and-wash painting from that period can be used to observe the differences in the aesthetic sense. This study aims to search for commonly shared aesthetic sense in the design process of Hanbok and Kimono by analyzing the styles of a representative Korean painting, "Sehando(Wintry Days)" and a representative Japanese painting, "Pine Trees Screen". H. Wolfflin's methodology influenced not only painting, but also architecture and sculpture. Therefore, this theory can be applied to clothing, which can be considered a type of sculpture. Modernization of traditional clothing has to start by analyzing the aesthetic sense of artisans that have affected the design of traditional clothing. To spread Hanbok globally and differentiate it from Japanese clothing, we have to acknowledge the differences between Korean and Japanese aesthetic sense, and based on this, we have to develop the design of Hanbok.

• 한국생활과학회지
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• 제21권4호
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• pp.765-780
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• 2012

This study was investigated the clothing microclimate, subjective sensation for the improvement of traditional koran high school student uniform so called "Saenghwal Hanbok". For the purpose, casual hanbok school summer uniforms were made. They were made of 4 different textiles materials - P/R, P100, P/C, P/R/S for blouses, P/W, P100, P/R, P/W/F for skirts. Then their clothing microclimate, subjective sensation were tested at room temperature $25{\pm}1^{\circ}C$ and $50{\pm}10%$ R.H. Clothing Microclimates wearing on the blouses were good matched comfort temperature range. Subjective sensations wearing on the blouses were better than those of traditional koran clothes so called "Hanbok" and quite same for western style clothes. Thermal sensations were indicated some hot condition, and moisture sensations were indicated some wet condition but tactile sensations and comfortable sensations were agreeable. The temperatures of the forehead and the breast wearing on the skirts were indicated the same results with the cases of the blouses. Leg temperatures were some lower than the mean skin temperature, the other parts' temperatures were slightly higher than blouses but the mean skin temperatures were satisfied comfortable ranges. Subjective sensations wearing on the skirts were better than those of the other traditional clothes and even Western clothes. Thermal sensations and moisture sensations were resulted the same with the case of blouses. Currently, P/R material and P/W material seemed to be cool and respectively suitable for blouses and skirts in summer among the materials of modernized Korean traditional costumes and school uniforms, since those materials lowered skin temperature. But better, physiologically pleasant materials for summer clothes should be development in consideration of clothing microclimate and subjective sensation.

• International Journal of Costume and Fashion
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• 제14권2호
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• pp.33-50
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• 2014

Investigations on the symbolic role, spiritual health benefits and efficacy of the clothing items of the Ga wolomo (chief priest) have received little attention. Highlighting the relevance of these clothes, this paper focuses on the chief priest's dress code for his appointment, confinement, ordination, ceremonial and daily life activities. Data were collected through content analysis, participant observation and interviews with people from selected Ga communities, such as La, Teshie and Ga Mashie. The findings revealed that the selection of the chief priest is confirmed with a special clothing item. His traditional clothes and adornment also have meanings, importance and symbolic interpretations; explained in their uses, colour and style. As the spiritual head, the role of the chief priest's costume is very distinguished and symbolic in executing his duties; protecting, strengthening faith, confidence and assurance during spiritual healing, and when solving pertinent problems in the community. The paper concludes by recommending further research and documentation on other aspects of the Ga clothing culture, such as hand items and hair styles from the pre-colonial period to the present.

• 복식
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• 제27권
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• pp.103-119
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• 1996

From Yan Chikgong-do the first picture of the envoy to the pictures of the age of Unified Shilla the traces of Korean envoys were found and they habe been continually found in the pictures of China Japan and Central Asia. The traditional Korean basic clothing which the envoys were in yang Chikgong-do has changed with the age. Korean envoys wore their thraditional cloth-ing to show their dignity whenever they went abroad. They have adapted themselves to the change of history and diplomatic policies However they could express their indentities as Korean people in Hanba-do by enshrining national features that is wearing the tra-ditional Korean clothing. From this study is can be concluded that traditional style of Korean clothing has continued in spite of be-ing under the influence of the foreign style of clothing.

• 복식
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• 제53권5호
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• pp.13-22
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• 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.

• 한국의류학회지
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• 제14권1호
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• pp.31-43
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• 1990

This research studied the first impression of a stranger in various styles of Korean or Western attire in several socially interacting contexts. The semantic differential scale was used to analyze the responses of IHO male and 180 female university students to line drawings of male and female figures in Korean or Western formal and informal attire in campus, office, and ambiguous contexts. The data were analyzed by factor analysis, one-way ANOVA, and Duncan's test. Six factors emerged to account for dimensions of first impressions. These were evaluation, potency, prestige and formality, conformity, likableness, and conspicuousness. Clothing styles had a larger effect on responses than context. Persons in traditional Korean styles were perceived as more prestigious, formal, individualistic, and less competent than those in Western styles. Conversely persons in both formal and informal Western styles were perceived as more attractive and more competent than those in traditional Korean styles. Persons in casual Western styles were considered least prestigious and least formal. A weak interaction effect was found between clothing style and social context.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2002년도 International Costume Conference
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• pp.82-82
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• 2002

• 한국복식학회:학술대회논문집
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• 한국복식학회 2002년도 International Costume Conference
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• pp.77-77
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• 2002

• 복식문화연구
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• 제32권2호
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• pp.299-320
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• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.