• Journal of the Korean Society of Costume
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• v.42
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• pp.59-68
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• 1999

The purpose of this study is to survey the color preference of mothers for the clothing of their children whose clothing is usually chosen by their mothers. The survey was performed by showing 60 color samples to provide the useful data for the fashion color planning. The result of this study shows that the prefe-rences in hue and tone are different mainly by season. The most preferred colors are yellow for boys and pink for girls in spring white in summer-beige in fall and black in winter. The most preferred tones for boys are pale in spring and summer dull in fall and dark in winter For girls light tone is most preferred in spring and pale in summer bright in fall and dark in winter Analysis of tone preferences in 6 colors shows that bright and clear are commonly preferred tones for children's clothing. Pale light vivid tones of yellow green and blue are preferred for girls and boys. Dark purple is preferred in fall and winter while pale tone is preferred in spring and summer. Red is preferred for girls especially in pale bright vivid tones while dark grayish and deep tones are preferred for boys in fall and winter.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.81-89
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• 2003

This study is to consider both the eastern and western concepts of colors focusing on the five colors(Blue, Red, Yellow, White, Black) derived from the principles of Yang and the Five Elements, which are the traditional philosophy of the East and to analyze the modern fashion on the basis of the theoretical background. This study is summarized in the following. The eastern color concept has been formed by the influence of the principles of Yin and Yang and the Five Elements, which explain the generation and extinction of the universe. When it comes to the five colors, the symbolism of the east and west has much in common relatively. Concerning the rule of the five colors match, both the rules of the east and west are highly similar with each other. As mentioned above, the study shows that the five colors concepts and match rules between the east and west have much in common. There is a high possibility to connect the compatibility and incompatibility of the eastern five colors with scientific western theory of color harmony.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.123-137
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• 2002

The purpose of this study is to analyze the actual condition and problems of current ready-made shrouds. Current shrouds were formed after the 20th century and therefore are quite apart from its traditional precedents of Chosun Dynasty. In this respect, several problems can be pointed out. 1. The use of natural colored hemp as a primary textile of current shrouds is far from our tradition. Silk, ramie, and cotton have to be used together with hemp. Also, more variety of colors can be used other than natural white. 2. The size of ready-made shrouds has to be categorized at least into three: large, medium and small 3. The pattern and sowing method of Dopo(도포) and Wonsam(원삼) should be corrected in line with those of the traditional Dopo(도포) and Wonsam(원삼). 4. The design and items of current ready-made shrouds have to break away from the standardized convention and should seek more of a variety that our rich tradition provide. 5. The rational index should be suggested so that consumers can compared the quality and price of ready-made shrouds available at their hands.

• Journal of the Korean Society of Costume
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• v.5
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• pp.219-235
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• 1981

Jik-Ryoung was originally desinged to be worn by lower-class people in the reign of King Woo(A.D 1387, Goryeo) when official dresses and headgear were redsigned according to Ming's (明) style. It was observed that Jik-Ryoung was the same Po(袍) as Dan-Ryoung(團領) except its straight collar. Nowadays we can find through documents and original forms of Jik-Ryoung itself that Jik-Ryoung prevailed from the beginning to the end of the Yi Dynasty. Lower class people wore this coat until King Sejo(世祖), but from that time the Jik-Ryoung could be worn only by the Noble class as street clothes and home wear as well. Middle class people wore this coat as an office wear. Its style had changed from narrow sleeves and Moo (무, a reinforcing cloth strip) at the beginning to widers and Moo after the middle years of the Dynasty and finally fixed its style to sewing upper parts of Moo together. While red, white, and blue were the common colors, silk, hemp, cotton, and ramie were preferred materials to be made of.

• Journal of the Korean Society of Costume
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• v.43
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• pp.5-14
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• 1999

The purpose of this study is to survey the color preference of mothers for the clothing of their children whose clothing is usually chosen by their mothers. The survey was performed by showing 60 color samples to provide the fashion color planning. The result of this study shows that the prefe-rences in hue and tone are different mainly by season. The most preferred colors are yellow for boys and pink for girls in spring white in summer beige in fall and black in winter. The most preferred tones for boys are pale in spring and summer dull in fall and dark in winter. For girls light tone is most preferred in spring and pale in summer bright in fall and dark in winter. Analysis of tone preferences in 6 colors shows that bright and clear are commonly preferred tones for children's clothing. pale light vivid tones of yellow green and blue are preferred for girls and boys. Dark purple is preferred in fall and winter while pale tone is preferred in spring and summer. Red is preferred for girls especially in pale bright vivid tones while dark grayish and deep tones are preferred for boys in fall and winter.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korean Society of Costume
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• v.45
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• pp.179-199
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• 1999

Indeterminancy is one of the thought systems which explains all things with not 'either-or' but 'both-and' the conditions and qualities of human identities and inner state. A view of the world of Dionisos of Nietzsche's and the character of Manneristic trend which has resolved the sense of alienation of men by paradoxic expression has succeeded to romanticism surrealism and postmodernism. 1. Cross-dressing has increased under contemporary conditions. There also have been various cross-dressing phenomena in the past but it appears strongly now that it would destroy the cultural stereotypes and give rise to the cultural insecurities in contemporary conditions. 2. The indeterminancy of status that is wealth versus poverty impacts on variations of contemporary dress. This has been represented by neglecting traditional code which is related to wealth in costume by conversion of the symbols of wealth and poverty as disguise with moderation simplicity and additionally poverty image instead of ostentation. 3. In the cultural aspect that is mother culture/ subculture the author has investigated black street fashion which has newly become visible. The black street fashion is wide spread in black popular music such as jazz Rhythm & Blues Reggae and Rap which is subculture against white. The external values of indeterminancy in fashion are n대-manneristic tendencies as deformation eclectic friction and irrational structure and graffiti method. The inner values by indeterminant expression in fashion are irony and paradox grotesque satire and amusement.

• Journal of the Korean Society of Costume
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• v.5
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• pp.103-112
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• 1981

In Koryo Dynasty, during the reign of uijong, Choe Yun-ui and others countries collected the royal orders of the Koryo kings and adopted the Tang institutions, and compiled 50 volumes of a book, called "Detailed Ceremonies of Old and New." Recording about clothing, with a special focus on dress and its ornaments of armed vassals, when they attend the king while he is conducting his business. 1) As for the headgear's were the Pokdu, Moja, Kwan, Tumo (official hat to be worn with armors) and Malye (for protection against the cold). There were II kinds of headgear's name in all. 2) As for the clothes, (1) Kongbok (formal costume) (2) Dress, there were 34 kinds of clothes name differented by (i) flowerage on clothes (ii) size of sleeves (iii) color of clothes (iv) fabrics (v) the belt used with the dress. Others were; (3) Baeja (4) Hansam, (5) Poto, and (6) Armor. 3) As for colors of clothes, there were (i) Purple, (ii) Red(Scarlet), (iii) Green, (iv) Blue, (v) Yellow, (vi) Black and (vii) White. 4) As for materials, there were (i) Kum, Ra, Sa (all kinds of silk), (ii) Iron and (iii) Leather. 5) For belts, there were (i) Sockdae, (ii) Hongjung, (iii) Kayeundae, (iv) Dongdokum-dae, (v) Jojung and (vi) Dongshimsokdae.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.77-93
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• 2016

The purpose of this study is to analyze the stage costumes of Michael Jackson, and how it was reflected in contemporary fashion. The study reviewed fashion related articles, book, journals, and online fashion sites in order to look at the stage costumes used by Michael Jackson from 1979 to 2001 from 'Off the wall' to 'Invincible'. The study examined the 2001 S/S~2016 S/S seasons of the world's 4 major $pr{\hat{e}}t$-${\acute{a}}$-porte collections to identify cases that used at least two fashion factors of Michael Jackson's style. The study result is as follows: First, Michael Jackson wore black tuxedoes with bow ties, ankle-length pants, white socks, black loafers, arm bands and other various accessories. Second, many of Jackson's fashion traits, such as military style golden embroidery detail and emblems, Brandenburgs, and also appeared in many collections. Third, Jackson's glitter style included spangle and cubic accessories, which were used along with hologram and metallic materials. Accessories, such as cubic gloves and socks, and fedoras were worn with the costume. Lastly, his diverse style, which included fencing shirts, letterman jacket and magic suits, can be found in different forms in modern fashion. Michael Jackson was one of the trendsetters in popular fashion in the 1970s~1990s, and continuously inspires fashion designers in the 21st century. In this aspect, the Michael Jackson style is deemed highly significant in the fashion history.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.51-51
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• 2003

The purpose of this study is to investigate the trends of, the ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the possibility of expressions through formative elements such as shape·texture·details and to anticipate the prospect of the Make-up in the future. The results can be summarized as follows. First, Ugliness is the most negative aesthetic value which is lack of beauty, and ultimate beauty is achieved through the combination of beauty with ugliness. Second, the images of ugliness have been expressed in paintings and fashion. The 20 century paintings, representing the ugly shape are extremely exaggerated with yellow, red, black, blue, white, green. The shape have been distorted, deformed, destroyed. And Pluralism and De-constructivism with its traits of indeterminacy have become the background of ugliness images in Fashion.