• 한국의류학회지
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• 제32권8호
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• pp.1322-1331
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• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.

• 패션비즈니스
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• 제13권2호
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• pp.87-99
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• 2009

The purpose of this study is to analyse the successful modernization strategy, and the difference between original Burberry and Burberry Prosum design. This will help in providing the fundamental information to Korean luxury fashion brands. Burberry, in particular, is rated as the most popular luxury brand in Korean fashion market. This brand has also rated 5th in sale worldwide and 1st in Korea in 2002, and was continuously been rated in 10th for the last 5 years. Related articles, fashion magazines, fashion web-site were used in this analysis, and the method was theoretical and case study. The results are divided into two categories of internal and external factors and two design patterns of check pattern and trench coat were observed. First of all, internal factor in Burberry is that they have scouted a new CEO and quickly changed their image with famous British models for the purpose of marketing strategies. They have also moved their main shop in London to Bond street, and opened shops in every country's capital cities. They were successful in achieving this by using celebrity marketing strategies with many famous celebrities. Secondly, external factor was that they have hired a designer named Christoper Bailey and this highlighted and enhanced the check pattern and trench coat. As a results, more generalized and diverse design items were presented and accessory line was enhanced, creating a much more younger image. This in turn attracted more younger customers. To sum up, original Burberry focused on classic designs, however Burberry Prosum focused on transforming traditional Burberry design into avant-garde and young. In other words, the reason for the success of this brand is highly dependent on its marketing strategies in which its uniqueness of schizophrenic cloche has appropriately represented and used in design.

• 복식
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• 제63권6호
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• pp.56-68
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• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• 한국실내디자인학회논문집
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• 제18호
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• pp.110-116
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• 1999

인류의 역사가 시작된 이후, 인간의 창조는 자연의 모방이라는 큰 울타리 안에서 이루어져 왔다. 신의 작품이 위대한 자연이라면, 인간의 작품은 극히 단순한 그것의 모방에 불과한 것인데, 인간은 인간의 제한된 두뇌 활동으로 이해하기가 불가능한 복잡한 자연을 인식하기 위하여 단순화(simplification)라는 방법을 사용하여 왔다. 이 과정에서 기하학(geometry)은 극도로 발전하게 되며, 인간의 자연 인식을 위한 보편적인 수단으로 자리잡게 된다. 중요한 사실은 기하학이 수단으로서 뿐만 아니라 인간에 의한 창조의 목표로서 위치하게 되었다는 사실이다. 즉 기하학은 자연의 모방이전에 이미 인간의 상상력을 지배해왔고, 그것은 가장 보편적인 창조원리가 되어왔다는 점이다. 그러나 최근의 과학과 기술의 발전, 특히 컴퓨터 기술의 발전으로 그 복잡한 자연은 단순화의 과정을 거치지 않은 복잡한(complex) 상태로 인간에게 이해되어지기 시작했다. 그중 하나가 19세기에 시작된 복잡성(chaos)이론인데 실내공간의 디자인에 있어서도 이러한 자연의 복잡성(complexity)이 새로운 창조 원리로서 자리잡게 되었다. 대표적인 실내 공간 다지이너로서 Nigel Coats를 꼽을 수 가 있는데 그의 무정부적인 (anarchism) 디자인 성향은 자연에서 발견될 수 있는 특징중의 하나라고 할 수 있다. 그가 추구한 복잡성(complexity)은 일본의 동경과 같은 고 밀도(high density)의 적극적 소비 도시(active consuming city)에서 발견되는 지극히 인간적인 도시생활을 만들기 위한 software의 제작이며, 이는 자연이라는 신의 창조물에 근접한 모방이 된다. 본 연구는 Nigel Coats의 작품에서 발견될 수 있는 이러한 무정부주의적 성향이 어떻게 자연의 본질적인 복잡한 (complex) 모습과 관련이 되는가를 통하여 현대 실내디자인의 새로운 방향이 이 시대의 과학적 발견에 따른 복잡성(complexity)과 유관함을 보여준다.

• 복식문화연구
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• 제23권3호
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• pp.439-453
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• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• 한국의류학회지
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• 제45권4호
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• pp.727-739
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• 2021

The purpose of this study is to present the objective evaluation semantic scale of avant-garde design. Apparel majors were asked to express associative vocabulary, design development, and final design intentions for the avant-garde, and the final 70 copies were used for analysis. The results found the item style was shown often in the order of dress, coat, and combination of shirt and pants. In order, the silhouettes appeared as atypical, complex, square, and triangular; the decorations appeared as feathers, frills, and round sculptures; and the idea method appeared as extreme, association, and removal method. In examining the relations of associative words and idea designs, the dress had relations with associative words such as 'peculiar,' 'futuristic,' 'fancy,' 'Comme des Garcons,' and 'deconstruction.' As for the relationship between the idea design and the expression image vocabulary, it was found that 'one piece' recalled 'huge,' 'volume,' 'abundant,' 'peculiar,' and 'unknown,' while 'coat' recalled 'huge,' 'big silhouette,' and 'padding.' In conducting the word cloud technique, the overall design showed the central keywords were 'huge,' 'big silhouette,' 'unbalance,' 'feather,' 'structural,' 'unknown,' and 'frill,' in order.

• 한국의상디자인학회지
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• 제9권1호
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• pp.123-140
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• 2007

Fashion magazine advertising is the most excellent source of information in predicting the fashion trend. It plays a pivotal role in setting a direction for the fashion trend in the upcoming season. The purpose of this study was to review by photos of the $pr{\hat{e}}t-{\acute{a}}-porter$ collection shown in LONDON, NEW YORK, MILAN, and PARIS during 2002-2006 A/W and 2003-2005 S/S seasons, being focused on such fashion items published as coat, dress, one-piece, two-pieces(jacket+skirt/pants, blouse+skirt/pants). In the results of this study, designers presented coat(n=144) chiefly, blouse+pants(n=29) were presented few during 2002-2003 A/W seasons. During 2003-2004 A/W seasons one-piece(n=156) was looking bullish, blouse+pants(n=34) were declining. Dress(n=149) was presented mostly, blouse+pants(n=17) was presented few during 2004-2005 A/W seasons. During 2005-2006 A/W seasons coat(n=180) was revived, blouse+pants(n=26) were presented lowly. Therefore designers presented coat(n=605, 28.4%) extremely much during 2002-2006 A/W seasons. Designers presented one-piece(n=109) much, jacket+pants(n=22) were presented few in 2003 S/S. In 2004 S/S seasons one-piece(n=167) was presented vastly different than jacket+pants(n=42). Also one-piece(n=152) was presented mostly, blouse+pants(n=48) was presented few in 2005 S/S seasons. During 2003-2005 S/S seasons one-piece(n=428, 28.2%) was presented most. And designers in these four world fashion centers didn't prefer blouse+pants in A/W seasons and jacket+pants in S/S seasons. Based on the above findings, it could be confirmed that the fashion items trend was almost similar among the four collections of $pr{\hat{e}}t-{\acute{a}}-porter$. The results of this study suggest that the fashion collections are the most reliable information sources for fashion product planning. Lastly, it is hoped that this study will provide for some useful basic data for domestic fashion businesses in producing fashion items.

• 한국의상디자인학회지
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• 제11권1호
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• pp.133-153
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• 2009

Clothing was excavated when the Bae's clan of Seong-san, Yeong-dong, Chung-buk in Sep. 2, 2004. The tombs that the clothing could be restored were the tombs of Bae Cheon-jo(10th generation) and the tomb of Mrs. Nam of Go-seong, the wife of Bae Sang-gyeong(1lth generation). For identifying the features and methods of sewing used for the clothing of man and woman around Po(coat in Korea in the past) in the 16th to 17th century, this study investigated 12 items from Bae Cheon-jo's tomb(Sibok, Dopo(robe), Jungchimak(outer coat with large sleeves) and Gwa-du and 5 items(Jangok(lady's cloak) and Jungchimak) from Mrs. Nam's tomb of Go-seong. For sewing, broad-stitching, hemming and even-back-stitching were used the most in that order. Furthermore, various kinds of sophisticated stitching including old flat felled seam, decorative saddle stitching and buttonhole stitch, clothing made roughly as a shroud and fabric attached on the clothing were also observed. We may not have many opportunities to understand the change of clothing in Korea from mid 16th century to mid 17th century through the clothing of father-in-law and daughter-in-law in a family. As a result, we will be able to understand the features of sewing in a family and from the 16th century to the 17th century.

• 대한가정학회지
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• 제41권5호
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.

• 한국의류산업학회지
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• 제22권1호
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• pp.11-24
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• 2020

This research examines pattern production of 3 men's costumes in the second half of 19th century by 3D reconstruction to reveal technical aspects of mail costumes. The steps are as follows. First, an examination of selective type according to research study. Second, a pattern analysis of 3 historical male tops of 19th century referred to 9 pattern books of the France National Library collection. Third, a categorized type analysis that referred to paintings of the Musée d'Orsay collection. Fourth, a measurement and structure research of 3 historical garments of Fashion and Textile Museum collection. Fifth, the pattern making and fitting by 3D simulation. Research discussed the following subjects and results. First, main type of men's coat can be categorized by frac, redingote, jaquette, and veston. Second, the male costume pattern contained in pattern books was researched along with distinguished silhouettes and structures; X silhouette for frac and redingote, H silhouette for jaquette, and straight box silhouette for veston. Third, based on the analysis of representative type of men's costume per period conducted previous studies, 2 redingotes and a jaquette in the museum were selected and compared to other data such as image materials. Last, the following process was conducted for reconstruction; 'Drawing diagram-Primary pattern drafting by measurement value-3D virtual fitting-Checking the fit-Modification and complement'. We also obtained a 3D virtual reconstruction and a 2D research pattern that suggested a costume pattern by each type along with 3D reconstruction that included insights for male coat techniques of 19th century France.