• 복식
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• 제63권2호
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• pp.144-161
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• 2013

Seok, shoes worn for rituals that originated in China, is worn as part of a formal dress in Korea. The Seok for men were worn with Myeonbok(冕服: kingly ceremonial costume) and Wonyugwanbok(遠遊冠服) and the Seok for Jeokui(翟衣: queenly ceremonial costume) and Jangsam(長衫). Myeonbok, Wonyugwanbok, Jeokui and Jangsam were ceremonial costumes of ancient times. This paper examines Seok, which has never been the focal point of a study, and focuses on the period of Joseon(1392~1897). It was possible to concretely identify its changes in each of the periods and genders by means of the literature and picture data. It turns out from this paper that a unique Korean style emerged in the days of Kings Yeongjo(英祖: 1694~1776) and Sunjo(純祖: 1790~1834). The Seok that were imported from China after the Goryeo period included a neck part, which was a departure from its original form. However, during this period, fences were added on the top of the shoes, and rings were added to thread laces in Seok from China. Women wore their Seok in this period with different ornaments in accordance with the different situations.

• 복식
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• 제5권
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• pp.7-11
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• 1981

In the vast extent of time, man and his ancestors have existed on earth about 2,000,000 years. For Near-Man, they knew how to make fire and protected themselves with hairs. Old-Man covered their bodies with the skins of wild animals. New Man improved the quality, the range and ingenuity, so they fabricated clothes with the animal skins. New Man is considered as ancestor of Modern Man. They had spread widely over the earth to take advantage of their surroundings. The next period, New Stone Age was chiefly distinguished by agricultural age. He was now about to make clothes from natural fibers. The two most obvious orgins of clothing are to protect the body against environment and to decorate the body. The forms of clothing were different from the various climates and regions they had settled, for example Yo-po Hyung (Apron), Kwae-po Hung (Sewn garment), Kwan-doo Hyung (Poncho), Chun-kae Hyung (Frontopend garment), Chai-hyung Hyung (Body-conforming shape). Our ancestor had moved from Baikal Lake, Central Asia toward northeast; Shun-tung in China, Manchuria and at last Han Panninsula. Considering our basic costume of ancient times were Yu(jacket), Ko(trousers), Sang(skirt), Po (coat) with the accessories of Kwan (crown), Mo (hat), Dai (belt), Hwa, Eie (footwear), here I conjecture our costume of prehistoric period was Chaihyung Hyung(Body-conforming shape) in the purpose of body covering.

• 복식문화연구
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• 제32권4호
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• pp.577-596
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• 2024

Geometric abstract art has been a persistent form since ancient times and is defined in modernity as a genre of abstract painting. According to previous studies, the geo- metric structure of traditional Korean costume possesses uniqueness based on Korean thought and philosophy. Therefore, the purpose of this study is to first derive the characteristics of Wilhelm Worringer's theory, a theorist of geometric abstraction, and then compare the spiritual similarities between the traditional Korean costume and geometric abstract art, with the aim of examining the artistic competitiveness of Hanbok. Photographic materials from domestic and international museums, as well as books published by museums and government agencies, were analyzed. Further, the characteristics of Worringer's theory of the abstract impulse were derived. The results are as follows. First, the external factors are characterized by a single geometric shape on a flat surface with restrained spatial expression. The internal factors include anxiety, comfort from religion or ideology, and the need for a visual refuge for rest. Second, traditional Korean costume and geometric abstraction share common spiritual contexts of artistry, transcendence, and stability according to Worringer's theory. Third, the study of the spiritual similarities between the traditional Korean costume and geometric abstract art through Worringer's theory reveals that the artistry of traditional Korean costume is expressed in universal forms, transcendence as intrinsic origins, and stability as a unique aesthetic consciousness. These findings provide a framework for reinterpreting the originality and universality of traditional Korean costume as Korean cultural content, infused with the characteristics of modern art.

• 한국의류산업학회지
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• 제17권2호
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• pp.191-202
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• 2015

The purpose of this study is to examine the form of the clothing of the Scythians who lived in the northern region of the Black Sea. This study refers to data, which has been extracted from reviews of literature, articles and catalogs of Scythian exhibitions held in Germany, a country where famous Scythian research was collected and analyzed. Results of this study are as follows: Regarding the basic form, there was no change in the appearance of the Scythian clothes which can be linked to social classes and regional background. But the detailing of the clothes changed. Russian archaeologist Klocko has stated that decorative bands of ancient costume appear to depend on the construction of ancient clothing. I have analyzed the upperjacket of Scythians with the decorative bands based on the research of Klocko. From this analysis could be observed that decorative bands of upperjacket had also been varied depending on their region and their social status. The decoration of the revers of upperjacket differs according to social status. According to their width, trousers were classified in types; in narrow and wide. The basic set up of the narrow-type is as follows: the trouser is divided into voluminous straight forms and leggings in close contact with the legs. The width of a trouser differs according to the social status of Scythians and from the region where they lived. Regional differences could be observed more significantly, than differences resulting from social status.

• 복식문화연구
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• 제10권6호
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• pp.633-647
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• 2002

The purpose of this study is to observe the symbolic meaning and the values of the costume which express bisexuality through the definition from a culture point of view. The research method is to contemplate the documentary records such as world history, art history and clothing history, and to recognize the symbolic meaning of a bisexuality in modern fashion design. A definition the word´man and woman´restricted the human being for a long time. This restrict is enforced by the costume, but this traditional fixed idea is retarded by the liberal sense of the human being and the design expresses a sex ambiguity This study inspects the sex ambiguity and the meaning of that through a cultural background and a historical costume. The results are as follows: The first, the cultural background about bisexuality is classified into the etymological point, the mythologic point. the art and philosophical point, the political and economic background, the mass media, and the custome and the regulation. A bisexuality is a concept in existence from ancient times. we have an open-minded attitude about bisexuality in the present than the past. The second, the function of costume is sex classification before 20th century, but since 20th century the costume expresses sex ambiguity. The third, the symbols of the bisexuality are the interminacy, the unity and the dismantling. The costume which expresses bisexuality means coexistence of male sex and female sex. this is a kind of motion to embody a ideal body of the human being. This study makes a contribution to recognize the dignity of human body and to understand the phenomenon of modern society.

• 복식
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• 제41권
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• pp.169-183
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• 1998

The Tartan, the representative check pattern and traditional costume of Scothand, is the most popualr checker which has inherited from the clans of the Scotch Highlands in the ancient times and continued to develop. It is a symbol of the Scotch culture and tadition and widely used in various ways according to status, birthplace purpose and use. Therefore, this study was intended to inquire into Tartan check. The purpose of this study attempted to make a systematic investigation of the characteristic of the Tartan check. the checker using vertical and horizontal lines which was the universal plastic element and inquire into it in terms of era, designers and combined works. By doing so, this study attempted to investigate the phase of the Tartan check in world fashion and further forecast the future of checker design applicable to the 21th-Century fashion. In addition it, attempted to investigate the features of Scottch costume unknown in our academic circles and inquire into the proless in while the Scottch has retained the originality of its own which suppressed by neighboring countries. This study could find out that the checker is the element of infinite applicability in the future. It is expected that the sophisticated and beautiful design using the checker will be presented by many Korean designer through the overall and systanatic study of the checker. On the other hand, to make an empirical study costume of other races, a comprehensive examination should be made of the social and cultural background against which locals are using their costume, through the survey of their real costume and on-spot research. It this respect, this study has some limitation in time and data collection. Besides the analysis of costume through materials and photos in museums as well as the study of cloth material and accurate colors was not con여cted in this in this study. This will remain to be study of in the future.

• 한국의류학회지
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• 제26권3_4호
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• pp.539-547
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• 2002

Heungdukwang's(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shilla's(統-新羅) costume. And among the clothing pieces that appeared in Heungdukwang's(興德王) costume ordinance, from Pyosang(表裳), Naesang(內裳), we know they wore one skirt over another. But skirts appearing in visual records are wort in waist line or breast line, and when they wore skirts in breast line, there were shoulder belts or not. Also among the clothing pieces that appeared in Heungdukwang'a (興德王) costume ordinance, Yo( ) and Ban( ) seems to be connected with skirt. but it is not clear. So this study focuses on the history of wearing skirt in breast line and one skirt over another, shoulder belts of skirt, and relation among yo( ), Ban( ) and skirt. The results are as follows. First, wearing skirt in breast line is already appeared in Ancient Shilla's(新羅) clay figure, and wearing one skirt over another is also appeared in Sunhung tomb's mural painting. so it is not completely under the influence of Tang(唐). Second, the shoulder belts of skirt is for convenience of action, But, at that time, there is no shoulder belts of skirt in Tang(唐). Third, between Yo( ) and Ban( ), If Yo( ) is connected with skirt, it is a shoulder belts of skirt or waist of skirt. And Ban( ) is a ire of skirt.

• 한국의류학회지
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• 제22권1호
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• pp.49-60
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• 1998

This study found through that Fortuny's art world with design aesthetics was devided into historicism, purism, exoticism and mysticism of color. \circled1 Fortuny's aesthetic observation dazzled at that time and he apply well-grounded opinion in historicism of his all creation and then accomplish on the whole mysticism of art and technique dwelled creativity, \circled2 Fortuny's Delphos gown realized new creation of beauty intact by that the simplicity and contingency was inquired into the art at that time. He revived that aesthetic was included in the drapery of ancient Greece, so indirectly express outline of the human body and realized pure image used a natural curved line of the human body. \circled3 Fortuny's creations included a exotic special quality. His clothes expected so many characteristics of 20C fashion and exotic, visionary fashion revolution in addition influenced on stage costume. ㉧ Fortune created new color specially "Tempera" and expressed mysticism of color that found a harmonious color character and texture through the ancient techniques included experimental mind of a multilateral try.teral try.

• 대한가정학회지
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• 제36권2호
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• pp.61-76
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• 1998

This is a result of the comparative study for the dress and ornaments of Cheonsuguk Mandara Sujang(天壽國曼茶羅繡帳, a folding screen of Japan in the 7th century) with that of the era of the Three Kingdoms of the ancient Korea. The style of dress, and a way of wearing dress and ornaments for female and male appeared in Cheonsuguk Mandara Sujang were same as that of the era of the Three Kingdoms of the ancient Korea. The formula of wearing dress in a two-pieces were also identical with that of Korean. Many Japanese scholars also do not deny that the dress and ornaments of Cheonsuguk Mandara Sujang were affected by that of Korean peninsula which had an important effect on cultural and ethnic customs fo Japan. Therefore, it is concluded that the dresses in Cheonsuguk Mandara Sujang are Korean clothes which was imparted to Japanese by Korean lived in the era of the Three Kingdoms.

• 한국의류학회지
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• 제37권5호
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.