• 복식
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• 제60권6호
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• pp.48-61
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• 2010

Pearl gowns(Jeanju-eui)' of Princess Jekukdaejang which were imported from Yuan to Goryeo in 13'th century, but correct shape and detail were unkown. Princess Jekukdaejang was a queen of Goryeo and a daughter of Kublai Khan of early Yuan period, and pearls were the most precious jewel in Mongolia of medieval time. It is possible that the shapes of Jeanju-eui were nomadic mogolian women's costume or very new style yet in early Yuan just like sleeveless long vest. In the period of Yuan, pearls were beaded on the stiff thin fabric for summer or ornaments of ladies. Big pearls were made use of point spot of pattern or line of pattern, and small pearls were usually used to fill up devided parts or to bind outline. The shapes of deducted pearl gown are five kinds of women's deel and four kinds of long vest, and deducted parts for pearl decoration are golden band from shoulder to wrist and on the knees of gown, cloud shape collar, patches on the breast and on the back, slant collar, and patterns of fabric. Red color(the favorite color of Yuan ladies), artifical pearls, ramie, and golden brocade with the gloss of satin are selected as stuffs for sample of pearl gown, but 'reproducting old fabrics' was the most important problem in making correct pearl gowns. Suggested is a cooperation with fabric makers to develop alternate fabircs with patterns just like Yuan's.

• 복식문화연구
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• 제8권6호
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• 복식
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• 제52권6호
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• pp.115-126
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• 2002

This study is regarding on the shroud of Jeonjoo Lee (Inpyoung clan's lady) excavated from the Andong Gwon's grave. who had passed away at 1722. Through this research, we understood the way of fetal ceremony by 18 centuries' royal family, and the costume style in those days. The style and size of shrouds were likely similar with ordinary dress. For the upper dress, Lady Andong Gwon wore a piece of undershirt (sosam), 3 layed jacket(Joggoli), an upper jacket (dangui) with patched badge as well as a gold brocade formal dress(wonsam). And for the lower dress, 2 layed underpants(dansokot) and 2 layed long skirts were worn. Especially, prototype of the waist band for shroud(gowdo) and a kind of headgear(gokdoli) was found in this study along with the headdress for woman's shroud(yomo) and the shoes for woman's shroud(chahwea). In this study, understanding the costume of upper class at 18 centuries during Chosun Dynasty.

• 복식
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• 제52권8호
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• pp.151-160
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• 2002

This study implicates that the Danryoung(Formal dress) has been worn by the lady in Joesun dynasty. So far 8 cases of Danryoung excavated has been supposed to be worn by woman. The differences between man and woman's Danryoung is at the 'Somae(sleeve)'and 'Mu(gusset)'. Through those excavated Danryoungs, 'Somae' in Woman's Danryoung was straight and 'Mu' attached in outer layer of dress with rectangular form. From the excavated dresses, Ot-go-reum(strings) coloured violet and wider than man's Danryoung. It was also found as detached. Woman's Danryoung was decorated with gold brocade and excavated with belt. Through the dress and accessories excavated, it was estimated in mid-16C to early 17C. With this respect, it was implicated that Danryoung has changed its style to Wonsam after late 17C.

• 대한가정학회지
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• 제23권1호
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• pp.1-9
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• 1985

과테말라의 알타 베라파즈 지역에서 원주민들의 민속의상의 하나인 Huipil 재료로 생산되는 반투명의 백생 무명 수직물은 독특한 직조기법과 구성을 보이고 있다. 이에 대한 부분적인 연구는 O'neale 과 Osborne 등에 의하여 이루어 졌으며, 본고에서는 이들 연구를 기초로 이 지역의 Huipil 재료의 직조과정과 기법에 대하여 고찰하였다. 또한 구체적인 직물구조의 분석은 Iowa 주립대학의 직물소장품중 4점의 이지역 Huipil 재료를 실측하여 이들 각각의 전체적인 구조와 기본적인 직조방법, 그리고 무늬를 형상하는 기법에 대하여 검토하엿다. 본 고찰을 통하여 이 지역에서 생산된 Huipil은 대부분 원시적인 형태의 직조기에 의해 완성되었으며 복잡한 무늬를 짤 경우에도 보조적인 도구는 사용되지 않고 특유의 수직기법에 의해 이루어졌음을 밝혓다. 또한 Huipil의 바탕은 plain weave, gauze, 도는 brocade의 변형으로 구성되었으며 바탕과 무늬의 변화는 실의 굵기의 변화로 더욱 강조되어 독특한 효과를 나타내고 있다.

• 한국의상디자인학회지
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• 제2권2호
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• pp.137-154
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• 2000

The purpose of this study is to investigate the transition of luster material after the tweentieth century. This study was conducted by means of designer collection, journal of fashion, museum data, fabric exhibition and Internet data. The results of this study were as follows: Before the synthetic fiber period, the luster materials were used satin, chamuse, gauze, damask brocade and velvet, except cashmere, mohair and rayon. They are made from silk by the way of giving difference surface property. But since 1960s, it has used not only synthetic fiber with smooth surface but also vinyl, latex, natural leather, synthetic leather and metal. Luster material recently has a tendency to natural and soft shiny, example silket finish, chintz finish, silico coating finish with paper touch feel and so forth.

• 한국의상디자인학회지
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• 제6권3호
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• pp.9-18
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• 2004

This study focuses on the medieval Mongol costume called YosunOja. This dress consists of a blouse and a skirt, and some lines on the waist part. The purpose of the study is to analyse the structural characteristics of this costume, especially on the medieval remains from the tomb Mingshui in the district of Neimenggu. It can be analysed that this costume has three structural characteristics, which are the functional structure, sumptuous one, and the idea of Buddhism. The functional structure consists of the style with a blouse and a skirt, which gives enough surplus for the movement, the back-slash for the ease of the riding, and the dart in the front line which eliminates unnecessary surplus. The sumptuous structure is the many lines of the waist which show the maximization of the decoration, the extraordinary long sleeves, and the use of the expensive gold brocade which shows the wealth of the dresser. And also, the cutting of the fabric into the numerous segment may mean the medieval Mongols believed in Buddhism.

• 복식
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• 제58권5호
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• 복식
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• 제52권7호
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• pp.1-11
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• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• 패션비즈니스
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• 제3권3호
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• pp.49-57
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.