• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.88-96
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• 2007

The purpose of this study is to present examples for modern application with traditional color on ceremonial costume of Korean folk belief which is regarded as representative research material standing for Korean cultural archetype. The arrangements of color on the ceremonial costume of Korean folk belief were selected from 11 items specified as an import intangible cultural asset. These color arrangements were composed of fundamental colors from the viewpoint of modern color sensation, but had a excellent harmony in Hue. Therefore, not shifting Hue of color arrangement on ceremonial costume, traditional color arrangement was apply to contemporary it by shifting tone. Brilliant and deep chromatic tone that belong to 3, 4 area was converted into toned light grey, light clear, dark deep, toned dark grey, and greyish chromatic tone that belong to 1, 2 area or 5, 6, 0 area or 2, 7, 9 area. The plan that applies arrangement color with brightness contrast of traditional fundamental colors on a modern color harmony was presented from that. Like this, we can combine traditional color into modern color sensation, stylize and apply it on a production of character, logogram design, fashion design for characters in animation or game. From this, we'll be able to be close to the color arrangement sensation including our racial emotion in the everyday life.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.123-132
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• 2009

Our government has declared the "Synthetic Project for Promoting Han-style" to industrialize and globalize the original form of Korea traditional culture. Han-bok, our traditional folk costume is one of the main subject of this project. However it is the global trend not to wear their traditional folk costume. And so, the number of people wearing Han-bok, our traditional folk costume is also getting gradually decreased in Korea. For Han-style Promoting Project in the future, it is one of the most efficient way for the middle and high school students to motivate and increase the interest about Han-style and Han-bok as the middle and high school uniforms. Adolescent middle and high school students think very important their appearance. Especially, Korean middle and high school students spend a lot of time in school, and so school uniforms are very influential in their mental and physical aspects. Fabrics for this study, they were woven twill with 3 kinds of fabric patterns from the motif of Baekje relics. The colors of fabrics is the blue and brown used in general school uniform, the yellow and red used in Han-bok. Considering the school uniforms, fabric patterns adapted the similar color matching method for not to be found cleary and designed the fabric pattern's one-repeat size is $4{\times}4cm$.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.77-91
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• 1998

The present study collected and analyzed the Korean's folk-belief related to Koran traditional costume culture which are handed down from ancestor and are known to present Korean society as of 1990's. The purpose of the present study is to understand emotion and the view of Korean people, and to understand the social roles of the costumes in Koran traditional society more deeply and more comprehensively. The study was conducted by document analysis and interview. The results of the study are summerized as follows: Folk-belief related to spinning(gilssam), sericultural industry and weaving are mostly enduced from the hope for god quality of work and acquisition of good skill of weaving. There has been also a belief hat gilssam has a magic power to easy delivery and fecundity. Most Folk-belief of taboo related to clothing constraction proposed to people pay great care while they are sawing. Some ways of management of clothing has been related to the manners of which are associated with the differentiation between high and low level and predominance of men over women that was originated fro m confucianism. Socks(busun) and shoes are also considered to have magic power to prevent from exorcism and demon of ill health. This study suggests that folk-belief give us the wisdom a guideline and lessons for better life, high quality arts and techniques which are handed down from ancestors. Therefore, folk-beliefs having a great value, non-shaped treasures of traditional culture heritage should be collected as many as possible, recorded, and preserved.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.689-702
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• 2022

Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people's satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• Journal of the Korean Society of Costume
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• v.26
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• pp.69-85
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• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.53-62
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• 2009

Through the result of the investigation on costumes in Bulgarian regions, the main factors for the formation of Bulgarian folk costume and its kinds and history have been found out so far as follows. Alhtough varying according to the district and climate, Bulgarian folk costumes have some general features determined by the material, the pattern, the application. For women, Bulgarian costume consists of a white shirt, a single or double apron unique depending on each region(Bruchnick), a basic dress called a tunic (Soukman), and an open-tunic typed coat (saya). The main factors for the formation of Bulgarian folk costume have been under the influence of natural and environmental features and historical streams resulting from its geographical location. Bulgaria is agriculture-oriented society based on a continental climate. Accordingly, as for the classification of costumes, body-fit clothes, such as shirts and jackets which developed in Europe and fit the body shape, have featured in Bulgaria. Besides, Bulgaria was under the rule of Turk for a long time at the end of the Middle Age. Having been influenced a lot those days, its folk costume shows Turkish elements now. With geographical features, it was found that the southern area was influenced most by Turkey and Greece, and the types of folk costumes in Europe developed mainly from the northern area. The adaptation of traditional costume forms to the new cultural and progressive principles of appeal nowadays needs knowledge, as well as feeling. Finding the right measure and proportions of using old ethnic elemints in contemporary clothing is the prerequisite of successful design.

• Journal of the Korean Society of Costume
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• v.41
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• pp.139-152
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• 1998

The purpose of this study is to consider what influences the Spanish folk costumes had on the ones of Latin America on Acculturation Phenomenon during Spanish reign over Latin America. As a method of doing this, the researcher compared and analyzed the style of dress such as color, material, design and accessories of Spanish folk costumes and the ones of Latin America, classifying them by male costumes and female ones respectively, by studying reference books, literature, and photographs related to the folk costumes and visiting this areas. The results of the study were summarized as follows; First, we can find out Spanish folk costumes were accepted to the folk costumes of Latin America just as it were. Second, Spainish folk costumes have been developed to be suitable for the climatic, geographical cultural characteristics of Latin America. Third, the folk costumes of Latin America become much simpler by the influence of Spainish culture. Fourth, as a result of cultural contact, mixture with Spainish culture, native folk costumes of Latin America had more various style. In conclusion, Spanish government over Latin America had given a cultural homogeneousness and colonial culture of Spain and traditional culture of Latin America have been mixed and created the present unique folk costumes of Latin America. Therefore good understanding and use of the sense of beauty of folk clothes of Latin America influenced by Spain culture will be helpful to enlarge creativeness of design of modern fashion.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.149-150
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• 2005