• 패션비즈니스
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• 제23권2호
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• pp.124-139
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• 2019

The purpose of this study was to examine the characteristic expression of Korean traditional costumes shown in the Korean paintings by Kim Hyun-Jung. The study analyzed the paintings by Kim Hyun-Jung to find out the characteristics of the contemporary Korean paintings and the expression of Korean traditional costumes. The characteristics of Kim Hyun-Jung's works are as follows: 1) The paintings are drawn by using Korean traditional painting methods and finished with Korean traditional paper, hanji. Moreover, they show the Korean traditional costume as main subject material. 2) They use modern painting methods, such as collage, and show pop art characters by use of contemporary popular products. 3) The artist communicates with the public through SNS and YouTube, and shows characteristics of popular art through commercial art products and advertisements. The characteristics of the Korean traditional costume in Kim Hyun-Jung's works are as follows. 1) The hanbok shown in the paintings is a traditional style with tight jeogori and wide chima. Chima is drawn in thin coloring with Korean ink and jeogori is expressed with semi-transparent hanji in various patterns and colors, which shows the subject 'coy'. 2) Various kinds of Korean traditional accessories and modernized flower shoes with high heels are shown as subject materials. The art works by contemporary Korean artists are expected to be the route to give valuable information to the public about Korean traditional costumes as well as the trendy Korean culture.

• International Journal of Costume and Fashion
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• 제11권1호
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• 복식문화연구
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• 제17권3호
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• 복식
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• 제65권1호
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• pp.30-45
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• 2015

This study summarizes the dissemination aspects of liturgical vestments in Korea, and organizes the value and meanings of these disseminations as it appeared in the history of costumes by carrying out an empirical analysis on the relics of liturgical vestments since the modern times. It also examines its design characteristics as well. Liturgical vestments have symbolic meaning for the purpose and solar term of ceremonial occasions and it also functions as a way to differentiate the position and duty of the clergy. Liturgical vestments developed on the basis of ancient Greek-Roman costumes and transformed each situation and social trend of the age. Korean liturgical vestments started with their traditional costumes, in 1887, it were changed into French(western) style with freedom of religious. After the secondary Vatican Council held in 1962, various regulations were changed to spread the Catholic doctrines and ideology. This study conducted an empirical analysis and design consideration on the 28 relics of modern liturgical vestments on the basis of the foregoing standard and concept. As a result of analysis, relics were investigated as research materials worn by Bishops after 1960s. And design elements are that the relics used materials and ornament of Hanbok with flower patterns and decoration such as letter patterns including 壽(life) 福(luck) 喜(pleasure) as well as Chrysanthemum and Mancaowen design. These transition reflected by amend regulation of Vatican Council II. Accordingly, this data has been confirmed to be important for the history of costumes as it informs what process of changes liturgical vestments spread in Korea went through before they are worn as current appearance.

• 패션비즈니스
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• 제26권1호
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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.

• 한국콘텐츠학회논문지
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• 제22권5호
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• pp.261-275
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• 2022

K-Pop과 K-Fashion이 전 세계의 주목을 받고 있는 현 시점에서, 한류와 연계하여 한복 분야의 좀 더 다양한 아이템을 현대적으로 재해석한 패션상품을 개발해 한류문화와 한류패션을 활성화시킬 필요가 있겠다. 이에 본 연구는 K-Pop의 원형이라 할 수 있는 궁중연희에서 연행된 궁중정재를 주제로 한류연계 패션상품을 개발하여, 문화와 패션 영역을 융합하고 확장해 보고자 하였다. 이를 위해 궁중정재복식의 원형과 현대에 연행되고 있는 궁중정재의 복식을 분석하여, 기존의 일상적인 한복과 차별화되는 무산향·연화대·처용무·춘대옥촉·춘앵전복식을 선정하였다. 이 5가지 복식의 특징적 요소가 반영된 한류연계 패션상품을 디자인했고, 3D 가상 착의 프로그램인 클로(CLO)를 활용하여 실루엣과 사이즈를 점검한 후 총 5착장의 상품을 개발하였다. 이에 본 연구를 통해 첫째, 디자인적인 측면에서 한국적인 디자인의 대중화, 둘째, 산업적인 측면에서 한류콘텐츠 영역의 확대, 셋째, 국제적인 측면에서 K-Fashion의 세계화 등의 효과를 기대해 볼 수 있을 것이다.

• 패션비즈니스
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• 제23권5호
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• pp.31-47
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• 2019

This study focuses on women and fashion in Korea between the 1960s and 1970s, when the government regulated the socio-cultural aspects of individuals while achieving remarkable economic industrialization, particularly through the representative popular weekly magazine 'Sunday-Seoul'. The scope of this study included 168 issues from September 22, 1968 to December 26, 1971. Two research methods were applied, literature research and content analysis research. First, the literature on Korean society, culture, women's fashion, the sociological, feminine and popular cultural studies were reviewed. Thereafter, the contents, cover, articles, pictorials were collected and analyzed for classification and identification of the women's images and women's fashion. In the case of fashion articles, the contents of vocabulary and description texts were highlighted, and in the case of pictorials, the visual elements such as images, silhouettes of clothes, details of features, and patterns of materials were assessed. The images of women in Sunday Seoul's articles and pictorials exhibited extreme opposite, presenting the most important purpose of marriage, 'wise mother and good wife' and 'image of sexual object' for men. The two images of women differed; however, there was one more female image 'industrial laborer' which was placed in the blind spot of interest. The characteristics of fashion which appeared in 'Sunday-Seoul' were 'uniform modern elegance' based on neat mini-style, and 'sexual image of exposure fashion' which endeavored to selectively borrow from overseas pictorials and trend-oriented articles. This could be viewed as a 'transformation of traditional Hanbok', 'avant-garde trend' and 'de-sexualization & indifference of fashion'.

• 한국의류산업학회지
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• 제24권1호
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• pp.95-107
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• 2022

In reality, the distinction between the Korean traditional culture and the cultures of other countries is at a delicate boundary. Additionally in the wake of the recent socio-cultural confrontation between Korea and China, it has become necessary to establish the foundation and area of Korean traditional culture and to actively utilize the importance of improving awareness of Korean traditional culture. To reorganize the reckless use of the gold foil pattern shown in the rental hanbok, data on the museum's collection of gold leaf patterns were collected and analyzed. Based on the gold foil, Gilsang characters such as Phoenix pattern, Crane pattern, Bat pattern, Flower pattern, Fruit pattern and recovery advice were extracted through references. The traditional gold foil pattern was reconstructed and relocated to design the gold leaf patch. Based on the collection and analysis of the museum's relics, the Wonsam & Daedae, Dangeui, Sranchima, Sagyusam, Jeonbok, Bokgun, and Daenggi were produced. Therefore, we present the possibility of producing gold foil and modern methods for producing gold foil using laser cutting techniques that can express refinement and complexity well, and gold foil thermal transfer paper with retouchable effects. Additionally, we would like to reflect upon the practicality and the convenience to modern people by considering the complexity and hassle of the traditional gold foil production process, and the disadvantages of processes that require relatively longer time. It intends to help revitalize the market of Korean traditional clothing and fashion products.

• 복식문화연구
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• 제19권6호
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• pp.1334-1346
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• 2011

This study focused on the beoseon, traditional Korean socks that are a fashion item showcasing the beauty of the round hanbok shape. The study utilized the beoseon as an influential design motif and suggested 24 cultural fashion items to which the beoseon can be applied, including neckties, scarves, and T-shirts. For the purposes of this study, Adobe Illustrator CS3 and Adobe Photoshop CS3 were used for the motif design as well as the literature review on traditional beoseon socks. For the basic design motif, two basic forms were taken from the collection of the National Folk Museum of Korea. The key point of the motif development is that it maintains the basic shape of the beoseon but highlights the attractiveness of the Korean image by using repetition, rotation, symmetry and overlap into a new image pattern so that modern and chic images were taken into consideration for each cultural product. For the necktie, the mixed or repeated patterns for each motif were used as is. Alternatively, an oblique line pattern was adopted to express a stable and stylish image. For the T-shirt, a round-neck sleeveless type was designed. T-shirts were unified in the white color to highlight the image from the pattern. For the scarf, two shapes were displayed, square and rectangle. Through mixture of two repeated variation unit patterns for each motif, a splendid and stylish image was revealed along with various layouts.

• 복식
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• 제52권5호
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.