• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.99-99
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• 2001

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.368-369
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• 2004

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.164-165
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• 2005

• Proceedings of the Costume Culture Conference
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• 2005.10a
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• pp.195-197
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• 2005

• Journal of Fashion Business
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• v.6 no.2
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• pp.41-52
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• 2002

At the beginning of the modern times, orientalism and ethnic character was the main stream of current fashion. Early in the twentieth century, orientalism had a tremendous affect on various areas of society, culture, and art. Particularly, it inspired and activated the design of costume. A great variety of colors and construction of the Orient and geometrical simplicity were based on the creation of modern costume. Ethnic placed weight on the Orient because Japan strengthened competitiveness and China opened the door to foreign countries. Therefore, a large number of the oriental costume produced by a variety of fashion designers. The oriental handicraft, motif and colors of the traditional costume have been used in modern costume. In addition, they are precious ideas for designers. This thesis is about a Study on costume embroidery close to fashion through the oriental embroidery and the concept of oriental embroidery. It is also a study on patterns, skills and colors of the oriental embroidery shown in modern fashion and practical use through the designers works. First, concept, process of change, patterns, skills and colors of the oriental embroidery are mainly discussed. 1.The oriental embroidery consists of life, Buddhism, appreciation and costume embroidery. Embroidery was widely used for a variety of purposes. First, it is to make a good impression and beauty. Second, to decorate many kinds of patterns and shapes. Last, to indicate social status and stages. 2.The origin of the oriental embroidery started in Persia. was It greatly developed in Iran and was introduced in Korea via China. We are reminded of the oriental embroidery of China. China is the original place of oriental embroidery. Oriental embroidery has developed the peculiar embroidery according to each climate, custom and nationality. On the basis of these, the practical use of the oriental embroidery on modern fashion is presented through patterns, skills and colors which leads Korean designers use. Even though the oriental embroidery is not very popular among people owing to a great deal of cost and a demand for labor, the patterns and colors of the embroidery has been already familiar with the contemporaries A more profound study on the oriental embroidery will supply a great deal of material and ideas to the fashion industry. Moreover, an effort to raise self-pride in traditional culture will be also in need.

• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.175-187
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• 2001

The purpose of this study is to recognize the real situation of clothing construction to present the desirable direction to establish more scientific and reasonable themes of the study by analysis of the tendency of the clothing construction study. For this purpose, 402 papers on the theme of clothing construction study were excepted from the first issues to the issues of December in 1999 of Journal of Korea Society of Clothing and Textile, Journal of Korea Home Economics, Journal of the Korean Society of Costume, Research Journal of the Costume Culture, Journal of the Korean Fiber Society, and Journal of the Human Engineering Society of Korea. I analyzed and classified the theme into eight issues of design related clothing construction, study of body types, study of patterns, size of apparel, fitting of clothing, protective clothing and functional clothing, sewing, and the clothes. The result of the study is follows. 1. The distribution tendency of the clothing construction study by the journal of each society showed that journal of Korean Home Economic is 22.9%, Journal of Korea Society of Clothing and Textiles 17.3%, Research Journal of the Costume Culture 12.2%, and Journal of the Korean Society of Costume 6.2%. 2. The distribution tendency of the studying issues showed hat study of body types of 29.4%, study of patterns21.9%, fitting of clothing 11.7%, sewing 10.2%, size of apparel 8.5%, and others 7%, protective clothing and functional clothing 6.7%, and design related clothing construction 4.7%. Considering the above result. we can understand that study of body types and patterns are being studied most actively. 3. Regarding the study tendency by academic issues showed that study of construction elements and design application is chiefly centered of the study of design related clothing construction (35.5%), analysis of body types is centered of the study of body, type(46/6%), CAD is centered of the study of patterns (31.1%), and size spec for the ready made patterns is centered of the study of size of apparel(32.4%). As for fitting of clothing, the study was performed in two ways on the changes of he surfaces of human bodies in motion and the functional features of experimental dressing. Regarding the study of sewing study of fusible interlining was mainly performed (36.6%) and regarding the study of protective clothing and functional clothing, study of brassieres and underwear was chiefly performed.

• Journal of Fashion Business
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• v.26 no.1
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• pp.68-91
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• 2022

The purpose of this study is to create modern patterns based on considering the types and design elements of Joseon hwapo patterns containing Korean identity, and to develop costume designs by applying design elements of traditional Korean dress, Hanbok. These designs combine traditional costumes with modern sensibility using the attribute listing method, and present them using a 3D virtual clothing program. Through this, it is meaningful as it organizes data on Joseon hwapo patterns, which were rarely dealt with in the traditional Korean costume research, and it is also of research value as it is a work that utilizes Joseon hwapo patterns as a new source of fashion design development. As a research method, literature research was conducted based on the documents, 'Nabeshima-sarasa hidensho', 'Nabeshima-sarasa mihoncho', and 'Zoho kafu benran', which are related to Joseon hwapo remaining in Japan. Based on the literature research, research was performed by creating pattern design and costume design using the attribute listing method, and 3D virtual clothing. Traditional Korean costumes used in design development in this study were saekdong-jeogori, dolddi-jeogori, magoja, hongjangsam, durumagi, jungdan, gollyongpo, jeogui, breast band, mujigi-chima, chima, and baji. Further, accessories used in each costume, such as pyeseul, daedae, hapi, and jeonhaeng-utchima, and features of configurations, such as yongbo, chest ribbons, band hem, gusset, collar and dongjung, heorimalgi, neckline, and sapok line, were used for design development.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.32-46
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• 2014

The purpose of this study is to propose a solution for Goguryeo costume and its materials, colors, patterns, and accessories, which have not been dealt with in precedent studies and were treated as irrelevant subjects. The specific object of reconstruction with identification from the historical viewpoint is noble woman's costume(Yu and Gun) on the mural paintings of Jang-Cheon No.1 tomb in Jip-An province. As above, the reconstruction process of Yu(Jacket) and Gun(Skirt) worn by noble woman as depicted on the mural painting of the Baek-Hee-Gi-Ak-Do(百戱伎樂圖) in Jang-Cheon No.1 ancient tomb is suggested in this study. The most important issue for consideration was how to represent and exhibit it so that it resembles the mural painting as closely as possible. And the problems that arose at the time were the ratio and silhouette, which revealed disparities between the one on the mural painting and the costumes reproduced with identification from a historical viewpoint. The most difficult aspect of this work was due to the fact that the actual mural paintings were not available for verification. Therefore accuracy on details such as structure, materials, colors, patterns and accessory were difficult to obtain. So a further analysis of patterns, silhouettes, materials and colors are required for the precise representation of costume and dress on the mural painting.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.11
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• pp.1598-1610
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• 2007

The knit design of this study was developed from reconstruction of Gustav Klimt images including gorgeous colors, symbolic lines, patterns and decorations, and the purpose was laid at making of unique, creative costume image with modem sense and adding artistic value on crochet knit wears. As for the contents and method of this study, We analysed formative aspects of Gustav such as line, color and shape Klimt in his art, and reviewed the cases where his works had been employed in modern costume. The conclusions are as follows; First, painting is important motif for contemporary costume design, and according to the individual thinking and expression, can be a major momentum for development of original design. Especially the organic lines and decorative patterns of Gustav Klimt paintings were suitable for rich decorative motif of costume design. Second, the unique colors of Gustav Klimt paintings can, if introduced to costume, allow new color combination. Third, crochet technic, by the texture of material, can present rich expression even with the basic knitting only. The embroidery metallic thread which is the main material for this study, was good for expression of gorgeous and classy image, in spite of the difficulties from its typical luster and embossed feeling. And the mohair, used as decorative motif, allowed more three dimensional expression with its rich voluminous and tangling property. Fourth, in applying Gustav Klimt paintings to costume design, other technics such as knitting, beading, applique, and patchwork helped creation of more unique clothes, presenting possibilities of rich artistic expression.