• 복식문화연구
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• 제7권2호
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• pp.225-229
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• 1999

The purpose of this study was to trace and to identify the origin and meanings of the word ho-su(胡神) that is found in historical documents of Chosun dynasty period. Historical documents, books, and other written materials from Korea and China were used for this research. The word ho-su(胡神) of Korea was originated in Chinese. At the first, ho-su(胡神) was a name of a kind of sleeves. It is long and wide round sleeves with narrow wrist parts. The character ho(胡) means a jaw, lower part of a jaw, a jaw hung down, hing down and lower part. Thus, the word ho-su(胡神) is a compound word made with character ho(胡) and character su(神) sleeve. The direct meaning of ho-su(胡神) in characteristic shape of the sleeves. The second meaning of the ho-su(胡神) is the name of a dress with long and wide round sleeves with narrow wrists. The name of the ho-su as a name of a dress was taken from the name of the ho-su(胡神), a kind of sleeves.

• 패션비즈니스
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• 제3권1호
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• 한국의상디자인학회지
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• 제23권1호
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• pp.129-142
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• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• 패션비즈니스
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• 제3권2호
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• pp.37-47
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• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.

• The International Journal of Costume Culture
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• 제2권2호
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• pp.45-59
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• 1999

The objectives of this study were to identify fashion trend in the late 1990's by using content analysis of the design elements of wedding dresses in wedding magazine photographs. The data were selected among the wedding dress photographs in 1997 issues of two wedding's magazines, 'My wedding'and 'She's Bride'. The identified 455 photographs were classified into 15 major-categories of silhouettes, necklines, sleeves, materials, and trimmings, etc. 15 major-categories were consisted of 232 sub-categories. In the late 1990's, fashion trends of wedding dresses have mixed mainly dome silhouettes(56.0%), bell silhouettes, and tubular silhouettes. One-piece forms(90.8%) were familar more than two-piece forms. Necklines were used mainly such as square neckline(14.0%), high necklines(13.0) blended with other off-shoulder necklines, heart-shape necklines, and sweet-heart necklines, etc. Also camisole and strapless were added in neckline. Long-tight sleeves dominated at the late 1990's because that were used most (21.1%) among 22 sleeves sub-categories. And short sleeve, ruffled below-elbow length sleeves, and french sleeves were also used with the other sleeves. Long length in skirts(98.4%) were common but mini length were used rarely. Satin, lace, and solid cloth were the main materials in wedding dresses, however, spandex and velvet were also used. Various trimmings such as flowers(corsages), ribbons blended with embroidery, small flowers, buttons, frills, strings, and fur trimming are used. Especially, flowers used most(11.8%) among 61 trimmings sub-categories. But simplicity was shown in trimmings because there were dresses not having any decorations(14.3%). The wedding dress of the late 1990's has become more varied in design due to the reflection of changes in society and fashion of everyday garments while the traditional design of the wedding dress has been preserved.

• 복식문화연구
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• 제8권6호
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• 한국의류산업학회지
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• 제17권1호
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• pp.53-63
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• 2015

The necessity on children dresses for cultural events and emotional aspects in designs have become important according to the development of kids industry and revitalization of party culture, and so grasping emotional requirements of consumers is necessary actually. This study aims at purpose of this research, the study used 27 color pictures on the whole bodies of children who wore children dresses that mixed clothing design factors differently (sleeve, skirt length, waist line, materials, color, decoration type and location) through a survey. Regarding the survey objects, this study objected children of 5~6 years old in full and their mothers who lived in Gwangju Metropolitan City, and its results were same as follows. First, dress preferences between children group and mother group were similar generally, but differences were displayed from dress lengths. That is, children preferred long length in general, and whereas mothers were come out to prefer shot length comparatively. Second, the study could get results by mixing ranking 1 and ranking 2 according to clothing design factors that were preferred by children group and mothers group deduced through an empirical analysis. Merely, the location according to decoration type was limited to ranking 1. Based on the research, this study expects that various forthcoming researches have been made continuously, and it could become a guideline for the development of children dress industry afterwards.

• 대한가정학회지
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• 제29권2호
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• pp.17-34
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• 1991

The purpose of this study was to find out problems which occured between clothes and motor ability traits of the hemiplegic aged. The samples were 32 hemiplegic aged men and were compared with 43 healthy aged men. Motor ability of the samples were measured by ROM test, muscle power test and finger function test(grip strength, hand's coordination, lateral pinch, 3pt. pinch). Design of the clothes consisted of 25 variables and the analysis of dressing and undressing motion consist of 10 motions of dressing and undressing dress shirts and 8 motions of trousers. The results were as follows: 1. There were significant relationship between ROM and muscle power and finger function of the hemiplegic aged(P<.001). 2. There were significant differences between the nomal side's finger function of the hemiplegic aged and that of the healthy group(P<.001). 3. The designs of clothes such as tutle neck line, long sleeve, button cuffs, fastening lace, open zipper and belt of trousers gave much difficulty to the hemiplegic when dressing and undressing. 4. The most difficult motion of dressing and undressing was fastening when dressing both dress shirts and trousers. 5. There were partly significant relationship between design of clothes and ROM, muscle power, finger function of hemiplegic aged man. 6. There were partly significant relationship between the degree of difficulty in dressing and undressing motions and ROM, muscle power, finger function of hemiplegic aged man.

• International Journal of Costume and Fashion
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• 제3권
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• pp.1-11
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• 2003

This study aims to recognize the value of traditional culture and to create 'Korean style rest costume' i.e. in-door clothes for comfort's purpose designed for hotel or other tourist accommodations with its own image. In so doing, national pride and identity will be exalted for Koreans, while an opportunity of cultural expose will be provided for foreigners through the symbols of Korea, which will contribute to the international introduction and representation of Korea. First, this study investigates the external characteristics in forms and structures of Korean style rest costume. Second, questionnaires regarding consciousness of Korean style rest costume and preference in design are distributed to the hotel guest and staff-both domestic and international- to be fir out. Lastly, designed rest costume representing Korean image, based on the results of the survey. Upon investigation, users and employers both preferred two piece style which is separated to upper garment and lower garment. While employers preferred short sleeve, users preferred long sleeves. In colors, employers preferred blue while users preferred white. In garments, both of. the employers and users preferred cotton, towel and cotton flannel. In addition, when introducing rest costume, it will be efficient to distinct the strategy between natives and foreigners, and also distinguish where the rest costume will be used.

• 복식
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• 제31권
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• pp.131-144
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• 1997

This thesis is mainly on the study of Gongbok and Sangbok in the system of official outfit of the Koryo dyn-asty which has not yet fully studied in the history of Koren dress and its ornaments. Even in this difficult circumstances the sys-tem of dress and its ornaments can be under-stood with the help of remaining Buddhi-stliterature. Thus the system of official outfit in the Koryo dynasty has been studied here with some documentary records such as Koryo-dokyung Koryosa-yeobokji (The His-tory of Dress And Its Ornaments in The Koryo Dynasty) and so on. As the Koryo dynasty de-veloped her international relationships continu-ously with her neighbouring nation which were geographically closely connected so the systems of official outfit in the Chinese dyn-asty of Sung had to be studied and compared with, In the Koryo dynasty the same four colour system of purple red, deep red and green had survived until the year of 1123 from the year of 960 not using the blue colour from the four colour system of purple Chinese red green and blue of the Sung dynasty. The four colour system of purple deep red green and black under the regin of the King Euijong was exactly the same as that of official outfit of the Sung dynasty in he year of 1078 the first year of Wonpung's regin and wearing Eodae is a sure sign of influence of the system of Sung dynasty. Even though Koryo was invaded by Yuan druing the period of the regin of the King Chungyul the four colour system was not changed of purple deep red. green and black along with the same Dae-sudanryung(long sleeve and round collar). In 1387 the thirteenth year of the King Woo of the Koryo dynasty Pumdae was used ofor different official ranks and the sys-tem of wearing Samo and Dayung was established for the official outfit of every government officers.