• 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.64 no.7
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.113-127
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• 2000

The purpose of this study was to examine the symbolic meaning of oriental numbers based on Yin-Yang(陰陽) theory. Based on the thought of Yin-Yang Wu-Hsing(陰陽五行), the number was divided the number of the heaven (positive number) 1, 3. 5, 7, 9 from the number cf the earth(negative number) 2. 4, 6, 8, 10. It was descrived very well in the dress and its ornaments and the folk customs. In the costume of the Court, there were 9, 7, 5, 3 patterns costume for the king and queen. Even though an even number, 12 patterns costume for the emperor symbolized 12 months and made it of the principal of the universe. Korean traditional costume Han-bock(韓服) was formed with the three dimentional principal of circle (圓.$\bigcirc$), square(方.$\square$) and triangularity(角.$\Delta$). In the middle of odd numbers, number 3 was regarded as a holy number of the heaven (天), the earth(地) and a man(人). Taken for a highest number. number 3 had the symbolism of wishes for good fortune. Number 10 and number 100, which meant the fullness and the long life, were used regularly. With Ten longevity patterns(十長生紋), the feast of a hundred-day-old baby, our race prayed for the healthy long life. As mentioned above. the symbolism of the number though the costume prefered the positive number to the negative one. Accommodating to the universal principal and the cycle. The deep meaning and the symbolism of the number has been implied the mental wishes.

• Journal of the Korean Society of Costume
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• v.44
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• pp.77-89
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• 1999

The present study aims at developing standardized patterns of ready-made Korean traditional costume for women in twenties and at suggesting classified standards so that consumers can buy high quailty clothes easily without dissatisfaction on unsuitable measurments. It was found from the dressing experiment results that new-concept patterns of Korean jackets onsidering women's bodies were seriously required because jackets fabricated by conventional patterns were not properily fitted to their bodies. During the processes of patten development, dressing experiment, and subsequent pattern adjustment, measurment standards classified by women's bodies were established, and new standardized patterns were developed in accordance with characteristics of women's bodies. These findings suggested that future studies on the pattern modification should be achieved continuously in consideration of ages, tastes, and fashions of modern women consumers.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.130-131
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• 2004

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.159-170
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• 2006

This study aims to examine the expressive properties of contemporary corset, and to develop designs and produce patterns for corset look clothes. Through these courses, it develops a pattern that may all meet the exactness, functionality and aesthetic aspects of a pattern and provides materials that may help create a corset look design in the course of actuallymaking a garment. Based on the elements mentioned above, a total of three (3) real works were developed and their patterns were created. The patterns include two (2) flat patterns and one (1) patterns using the draping method. The results found in the course of creating works and patterns are as follows: With new corset look designs, this study was able to artificially highlight the body and express the beauty of costume through revelation of the body In addition, it explored the possibility that the phenomenon that underwear becoming outerwear may be a new idea in dress designing.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.111-122
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• 2002

The study of traditional costume is significant in terms of figuring out of the reality of its originality and enrich the costume culture of today. The purpose of this study is to analyze the aesthetic characteristics and to contemplate the aesthetic values of the Kokuryo costume. Kokuryo costume were characterized with the simpleness in its clothing constructions. The spaces found on the dresses were emphasized giving a geometric characteristics and abstract images. Many different colors were used for tops, bottoms, and border elements showing value contrast in each parts of dress. Patterns were simplified in a dot or stripe shapes impling a certain symbols. Dot patterns were varied in its shapes. In general. the decorative elements were simple and eliminated. Through the process of investigating these aesthetic characteristics, aesthetic values were found. The aesthetics of nature were favoured and tradition were respected. Religious mind were favoured and progressive spirit were endowed by the Kokuryo people. They have pursued the diversities and many changes in visual forms of dresses which were the manifestations of their esprit.

• Journal of Fashion Business
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• v.23 no.5
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• pp.48-66
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• 2019

The purpose of this thesis was to investigate the similarities between religious costumes and Kazakh and Tajik minority women's costumes in the Chinese northwestern minority population that believes in both Islam and Shamanism. The research was conducted by investigating the forms, colors, and patterns of 240 representative costume pieces and making quantitative comparisons between religious and traditional costumes. The results showed that the Kazakh and Tajik costumes were similarly formed, both intended to cover the human body. Both the Islamic and traditional headdresses were also similarly shaped. In terms of color, black, white, green, and blue were found frequently in the Islamic religious costumes, as were red and yellow. Red, white, and brown, ascribed to the colors of shamanism, signifying incantations, were also frequent, indicating that this was engrained in their lives. A review of the traditional costumes revealed the patterns of Islam. Plants, geometry, abstraction, and letter patterns were dominant, whereas the meaning of the Islamic patterns, rebirth, sun, life, and hope, influenced the traditional costume patterns. Patterns associated with incantations, like the animal horns shown in the shamanism religious costumes, were persistently observed even after the people were converted to Islam. This study on the similarities between religious and traditional costumes in the Chinese minority might help us understand the connection between religious and traditional costumes and elucidate the cultural costume transition process.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.283-295
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• 1994

A systematic classification of Korean traditional patterns has been made according to their objects and presenting methods. The classification is represented with 3 levels of categories. First, the superordinate category is composed of 7 groups of patterns, i.e. Naturals, Animals, Plants, Artifacts, Geometric, Composites, and Others. Second, the basic category is composed of motifs in each group. Third, the subordinate category is composed of 3 types, i.e. realistic, stylized, abstracted, according to the degree of simplification. As this classification is a method for organizing informations in Korean traditional patterns in a systematic way, it can offer a useful basis for computerization of the patterns.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.627-633
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• 2006

This study examined the kinds, expression, techniques and arrangement of patterns for the traditional women's costume from 1995 to 2002 in North Korea. And the results were compared with South Korean. Conclusions are as follows : In the kinds of patterns the natural plant patterns were much more frequently used in North Korea. These tendency was same to South Korea. And the geometric patterns were more frequently used in South Korea. According to frequency in the expression of patterns, it was the realistic, geometric, stylized shape in North Korea. To the contrary it was the stylized, geometric, realistic shape in South Korea. In terms of decorative techniques, not only the traditional embroidery, gold leaf, multicolored stripes, but also modern collages, painting, beads, applique, flounce, ruffle were used in North Korea. Modern techniques were found comparatively a lot in North Korea, traditional techniques were found comparatively a lot in South Korea. In terms of arrangement of patterns, the modern arrangement was much more frequently used. And localized type of modern arrangement was found comparatively a lot in South and North Korea. Therefore traditional beauty was generally expressed by natural patterns, realistic shape and modern beauty was generally expressed by modern techniques and arrangement of patterns in North Korea.