• 한국의류학회지
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• 제11권1호
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• pp.87-96
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• 1987

Dan-Ryong is the traditional clothing that was worn the entire of oriental nations, and it was spreaded from Sun-Bi tribe to China about A.D. 4C. The first, the name of Dan-Ryong was translated with 25-Sa and Ancient-History Book. Among the name of Dan-Ryong, the follows were different between the name and shape. Jang-Bok was the colored Dan-Ryong, So-Bok was the unfigured black Dan-Ryong and removed Hyung-Bae, Ea-Mun-Pho was the Dan-Ryong of embroidered figure poetry, and Ja-Sam was the real short and tight Dan-Ryong. The second, some problems were given by translated Dan-Ryong's name. The results of the problems were as follows; 1. Dan-Ryong was oriented from Won-Wi. 2. At Su-Dynasty, there was going to the persuit of Han-Dynasty Courtesy, but they liked useful custom. Therefore Dan-Ryong was worn in daily life among the population. 3. At Dang-Dynasty, Ho-Bok was devided with three meanings. The first was Go-Sub, the second was Dan-Ryong of Buk-Jo about A.D. 3$\~$5 C and the last meaning was the clothing of Uighur, Turkey, Persia and etc. about A.D. 7 C. 4. The name of neck-line shape was started at Song and the majority arised about A.D. 12 C. and Dan-Ryong was only arised at Myong-Dynasty. 5. Gok-Ryong, except Song-Sa and Sam-Je-He-Bo, was different from Dan-Ryong and it was shape of neck-line inside of Jik-Ryong.

• 패션비즈니스
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• 제11권2호
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• pp.42-57
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• 2007

The purpose of study is to investigate costumes of the heroin in the opera which has performed by 4 different directors ; Metropolitan opera by Franco Zeffirelli, San francisco opera by David Hockney, Salzburg Festival by David Pountney and Korea Arena opera by Zhang Yi-mou. In these performances, Her costumes normally expressed the change of her characteristic from a haughty and cruel lady to a lady who realized a true love. The former is wearing exaggerative and splendid styles while the latter is wearing simple and ladylike styles. Costume styles of each performance are like this. In the Metropolitan's opera, costumes are very splendid using brilliant fabrics and accessories of Chinese peking opera. Their costume styles are influenced by Chinese 'Pao' which is similar to Ming Style. In the San Francisco's opera, costumes are very simple, specially pattern of dragons. This silhouette mixed Chinese style and western dress. In the Salzburg Festival's opera, costumes are based on simple western style but they expressed her mind effectively like a extremely long skirt which means her haughtiness. In the Seoul arena opera, costumes are based on Ming styles using silk which embroidered dragons, phoenixes and flowers.

• 한국의류학회지
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• 제47권6호
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• pp.1177-1192
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• 2023

This study aims to expand the scope of use for relics by applying the patterns and characteristics of embroidered fabric pieces, such as gold foil, excavated from the Mireuksa Temple Site in Iksan for fashion products. The artifact was a ra decorated with flower and vine patterns, embroidery using gold and red thread, and the unique stitching of Baekje. The pattern was reconstructed, as the embroidery was not well-preserved. This study used two types of gold-foil techniques: laser-cut and stone-stamp gold foil. Considering practicality, the gloss, toughness, custom production possibility, and design implementation were emphasized. The form of the laser-cut gold foil could be transformed; however, a recognition problem with the machine increased the thickness of the stitching. It was used for half-finished goods and commercial casual fashion. The stone-stamp gold foil was finely implemented, but the design was difficult to change. It was used for half-finished silk fabric for making hanbok po and lattice-patterned silk skirts. Applying the developed gold foil to suitable clothing can further enhance the effect.

• 헤리티지:역사와 과학
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• 제46권2호
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• pp.4-25
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• 2013

고리수는 편결(編結)과 금속공예의 기술이 접목된 새로운 형식의 수법(繡法)이다. 실올끼리 고리를 서로 엮어가며 공간상(空間上)에서 들떠 있어 마치 투조(透彫)와 같은 느낌을 준다. 수놓은 천에는 금박(金箔)이나 금실과 같은 황금 재질을 삽입하여 화려한 광택을 표현하고 있다. 이러한 특징은 고리수가 서구의 레이스워크(lacework) 공예와 그 형태 및 기법이 유사하면서도 가장 다른 점이다. 10세기 고려 초기, 강원도 월정사의 동자문수향갑낭(童子紋繡香匣囊)에서 고리수의 결구원(結構元) 무늬를 통해 초창기 자취를 발견할 수 있다. 조선 중기 왜란 시(1592, 선조 25년), 고리수 유물은 일본으로 약탈되어 '고려번(高麗幡)'이라고 불리며, 지금은 탁의(卓衣)의 형태로 개조되어 전한다. 19세기의 연대와 출처가 확실한 조선시대 궁수(宮繡) 베갯모에는 삼각무늬의 금박지(金箔紙)를 삽입하여 노란색 누에실을 엮어 짠 고리 감기수가 완벽하게 보존되어 있다. 고리수의 침법(針法)을 크게 분류하면, '고리수', '고리 감기수', '고리 새김수'의 3가지로 나눌 수 있다. 10세기경 초기 단계에서 13세기까지 고리수는 여러 침법으로 변화하며 점차 2~3가지의 입체적인 색채를 사용하였다. 고리수는 중세 이후 서양에서 비약적 발전을 보이며 고귀한 수공예로 알려진 레이스 짜기와 유사한 결구원을 지녔는데, 우리나라에서는 이미 10세기경 혹은 그 이전부터 편결과 금속공예가 접목된 복합적 공예 양식으로 탄생하여 천년 동안이나 그 수법(繡法)을 지속적으로 사용했다. 본 연구를 통해 한국에서 19세기 자수 베갯모에 고리수가 여전히 사용되고 있음을 밝혔다. 아울러 이러한 연구의 성과를 토대로 고리수의 원형기술을 복원했다. 그리고 '중요무형문화재 제80호' 기능보유자 한상수 자수장과 조선시대 고리수 유물들을 재현했다. 고리수 자수품은 편결과 금속공예의 황금세공기술이 자수공예와 접목하여 탄생된 전통과학기술의 복합적 산물(産物)이다. 이것을 계승과 창조의 새로운 방향으로 자수, 편결, 직조, 염색 등 기타 공예 관련 산업 분야에 확대 응용한다면, 의료(衣料)와 패션, 장식공예, 미술 디자인 등에 고급 부가가치의 신기술로 개발되어 활용될 수 있다. 또한 다른 공예기술과도 상호 보완된다면, 표현 영역의 확대와 더불어 다양한 예술적 조형미를 추구할 수 있어 우리의 삶에서 더욱 풍부한 미적 생활을 공유하게 되리라고 본다.

• 복식
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• 제59권6호
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• pp.82-93
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• 2009

This study is considered about the Taekwondo(跆拳道) uniform classified by period and analyzed the current Taekwondo uniform. And founded on this contents, new designs of uniform, that a functional side are considered and can symb이ize the identity of Taekwondo, are presented through this study. Ancient times to the present time, the Taekwondo uniform classified into three types according to 'Period of putting on our nation's costume'(three kingdoms${\sim}$Joseon(朝鮮) times), 'Period of confusion on uniform'(Japan's colonial rule of Korea${\sim}$-the early 1970s), 'Period of the settlement on official uniform'(the late 1970s-the present time). And besides, the shape of our nation's costume in ancient times is succeeded until Joseon times and this basic style becomes the outset on the current Taekwondo uniform. The designed uniforms are connoted the notion of the aesthetic appreciation in Korean traditional costume, that is, a symbolic, dignified, moderate appreciation with the consideration of a functional side for Taekwondo. And the contents on the presented designs are classified into 'shape, pattern, color'. First, these designs that are adapted the shape of Baji(바지) Jeogori(저고리)-belt, which have symbolized our nation's costume, and the shape of Bacja(배자) had used in Joseon times, are connoted a 'traditional appreciation with functional side'. Second, these designs, which are adapted the patterns of the active image(a bugbear, flying horse, tiger for embroidered patches, Taegeuk(太極)) in a modern style, express a 'symbolic, dignified appreciation'. Third, these designs are well-matched a black and white color with multicolored stripes(saekddong, 색동), and its ones are connoted a 'moderate and symbolic appreciation'.

• 복식
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• 제63권7호
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• pp.176-188
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• 2013

This research examines embroidery panels of Hwarot belonging to the Victoria and Albert Museum (the V&A). There are a total of seven objects and are all disassembled into clothe pieces. They were classified into two groups according to their acquisition year. One group, four objects, was acquired by the Museum in 1920. Considering their materials, embroidery threads, techniques and formative characteristics of patterns, it can be assumed that the objects formed an original dress, Hwarot. Although they look very similar to the embroidery patterns of Hwarot belonging to National Folklore Museum of Korea, they are more finely embroidered with very thin embroidery thread that uses the Jarisu technique. There are some differences in used embroidery threads and embroidery skills between Hwarot artifacts of the National Museum of Korea and the V&A. The embroidery of the National Museum of Korea used thicker threads and longer (approximately 0.7cm) Jarisu stitch techniques. With these details, they would have been made in different time periods. Comparison of the V&A and Changdeok Palace' Hwarot objects show that their patterns' motifs are almost similar but the pattern units, expressions and embroidery techniques are different. Regarding the colors of their patterns, it is noticeable that the peonies are generally expressed in reddish and the lotus patterns are expressed in either bluish or purplish color. It seems that they are contrasted with red-colored flowers and show harmony between yin and yang symbolically. Three artifacts of another group were acquired in 1925. Two of them show patterns almost the same as those of the sleeves of Hwarot (no.33156, no.33158) in Chicago Field Museum collection. The pattern of the remaining object is very similar to Hansam of Hwarot (no.33158).

• 복식
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• 제44권
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• pp.5-17
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• 1999

This paper studies women's clothing and textiles recorded in the『the Odes』, and refers research materials on the old commentaries about the『the Odes』and the various kinds of records and remains. The results regarding women's clothing in『the Odes』are follow: 1. Ti-i, Chin-i are the women's ceremonial dresses. Ti-i is a kind of the court dress and the shape is a long dress embroidered with pheasant. Chan-i belongs to the lower grade compared with the six ritual dresses worn by the queen and is made of Hu that is a kind of the white soft-wrinkled fabrics. 2. A women's I-Shang is composed of a blouse and a skirt. It is the classic style before the Sh n-I appears in China. Also we find that they use the standard colours for a blouse and the intermediate colours for a skirt in Chou period. 3. Chiung-I, Chiung-Shang and Hsieh-Pen are a kind of the robe put over the former garment made of Chin not to display to elegance. 4. Fu, Ch n-Fa, Pei and T'i are a kind of women's wig. Ti and the six-Chia are women's hair ornaments. Ch'i-Chin and Ju-L are a kind of the working women's turbun. 5. The women's belt ornaments are classified into the practical things and the decorational things like those for men. The results regarding fabrics in the『the Odes』are as follow: 1. The silk fabrics; There are Chin, Hu, Chou, Tz , Su, Hsiu. 2. The woolen fabrics; There is Ho. 3. The linen fabrics; There are the hemp and the ramie in the remains of Chou period. Also there are Ch'ih and Hsi categorized in Ko fabrics.

• 복식문화연구
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• 제23권4호
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• pp.705-725
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• 2015

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.

• 한국의상디자인학회지
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• 제8권2호
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• pp.73-83
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• 2006

This study aims to focus on clothing design's practical uses of the superior esthetic elements that can be found among the East's representations, in particular the characteristic Korean elements found in the latter part of the Chosun Era's women's Gauche and decorative personal ornamentation's moulded features. This has been the foundation for the creation of all eight pieces, and the conclusion is as follows: First of all, the Chosun Dynasty women's Gauche and ornamentation are in close relation to the general flow of society at the time. Gauche and personal ornamentation was not just a matter of beauty consciousness, but is permeated with then-mainstream society's culture, the results of an attempt to display a Korean appearance. Secondly, the desirability of the Chosun women's hair was expressed through Gauche, and through the exceptional brilliance of a diversity of embroidered color tones, braided as though creating Dare. Using this technique in clothing, a new image was created. Thirdly, the outstanding beauty of personal ornamentation's mouldings was used while creating new clothing compositions. The beauty felt through the Chosun women's personal ornamentation can also be felt through today's clothing. More than merely practical, this beauty also brings one closer to Korea and Korean past.

• 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.