• 복식
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• 제67권3호
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• pp.133-148
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• 2017

The purpose of this paper is to develop waist coat designs that can be worn in the present day by researching design techniques and traditional waist coat forms shown on Korean patchworks called 'Jokakbo', which was commonly used in our traditional culture. By selecting patchwork as the primary motive in particular. The Bojaki, also known as deungguhli or baeguhli(背巨里), gives off a natural and vibrant color sensation. A new design that could be practically worn with modern clothing was developed by sufficiently reflecting this color sensation as well as the aesthetic quality of its geometric shape. On the basis of theoretical consideration of traditional cloth and vest, total of 7 points were designed and produced. These works contain diverse application of the traditional Bojaki and vest. The design of the Bojaki grants rhythmic sense to the side where diverse colors and formative patterns shown on the cloth can be seen as monotonous. The entire side opening of the traditional waistcoat can cover multiple sizes. Depending on the movement, the front and back naturally spreads. The vest can also be worn in layers or used as a cotton quilt depending on the season. And after minimal design alterations, it will be possible to wear the vest with diverse modern clothing due to its straight line and form.

• 한국의류산업학회지
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• 제12권6호
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• pp.705-714
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• 2010

This study has the purpose of classifying the types of decoration techniques applied to the Korean traditional costume of modern style which are shown in relevant monthly magazines and analyzing the characteristics of the techniques. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are classified into single and composite types according to decorative components. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, gold and silver foils and embroideries, embroideries and seonchigi or embroideries and stitches is usually used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. More notably, Korean traditional costumes for women shown in monthly magazines released during the period as mentioned above were investigated to find that a part of the women's clothes, that is, skirt was in most cases decorated with brilliant embroideries. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have brilliant patterns on the surface and are commercially available irrespective of season. Consequently, since 2010, flower motive patterns which are important in modern fashion trend will be used in embroideries, gold and silver foils. Additionally, embroideries such as seakdong, applique, drawing made with modern style will be the main stream of new HanBok style.

• 복식문화연구
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• 제6권1호
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• pp.136-148
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• 1998

This is a study on the change of the Medievalmen's underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Throughout the Middle Ages, the underclothing of both sexes possessed characteristic inherited from earlier times. Its function was purely utilitarian. It was not used to express class distinction and only very indirectly to enhance sex attraction. The idea of underclothes was associated with the idea of the body's sinfulness. Underclothes could also symbolize the discipline of humility. To appear clad only in underclothes was a voluntary form of selfabasement often practised by pilgrims. The notion that underclothes might express the spirit of the changing times, in sympathy with the outer clothing, did not enter the medieval mind. The length of the shirt was less than that of the modern garment, especially after the middle of the fourteenth century. The sleeves were somewhat full, without cuffs, and cut straight. During the second half of the twelfth century, when braies become definitely an undergarment. In the fourteenth century braies became shorter and shorter and the shirt could no longer be tucked in but hung outside over the thighs. After 1340 the costume on the surface somewhat resembling modern 'tights', began to reveal display the shape of the male leg as a form of sex attraction. By the close of the Middle Ages, braies had become less like loincloths, and more like modern bathing trunks. The peasant and laborer did not attempt to keep pace with the changes of fashion but, continued, as a rule, to wear the long braies of their forefathers. The higher ranks how this garment reflected the changes of the mode of outer costumes.

• 한국의상디자인학회지
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• 제19권3호
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• pp.99-108
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• 2017

In modern society, the succession and development of tradition can be an enabler of the state in the flow of culture, and the process of modernizing traditional costumes is meaningful work. Neckties are essential in modern Korean men's wear, and they are an important part of men's ornamentation. Accordingly, this study aims to present a necktie design that applies the traditional men's ornaments such as the Ip, Ipyoung and Manggeonsik. The research method is based on a literature review and presents four Korean necktie designs via Adobe Illustrations. As a result of analyzing the beauty of the traditional Korean men's ornamentation, it was categorized into rhythmical beauty, emphasis beauty, and natural beauty. Applying this to necktie design, Design 1 imagined the silhouette of a man wearing a Got and Durumagi. This applied emphasis beauty. Design 2 applied the shaking images of Got and Got-kkeun to apply rhythmical and emphasis beauty. Design 3 applied a man's upper body silhouette and the shape of wearing a Got. This was to apply natural beauty and emphasis beauty. Design 4 applied the shape of Got-kkeun and Gwanja to rhythmical beauty and natural beauty. The significance of this study is that the development of necktie designs using formative Korean elements can be a part of efforts to recognize the possibility of traditional Korean culture and to explore developmental directions under the current situation in which Western clothing is accepted without thought. It is a good idea to suggest the possibility of the modern use of Korean men's ornaments.

• 패션비즈니스
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• 제25권3호
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• pp.126-143
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• 2021

The purpose of this study is to analyze the characteristics and design elements of the Qing dynasty costume style, and accordingly, develop a new fashion design work incorporating modern aesthetics by using the attribute listing technique. A creative idea that drew out various ideas by considering the properties and characteristics of the object in detail through applying the attribute listing technique, and a modern fashion design in the style of Qing dynasty were developed. In the design development process, first, the theme was set as 'Developing a modern fashion design using design elements of Qing dynasty costume'. Second, design elements and components focusing on design details of Qing dynasty costumes were organized. Third, design ideas that replaced or modified design elements for each type of Qing dynasty costume were presented, and the design was developed by combining and modifying these ideas. Fourth, nine designs were selected through a design evaluation process by a group of experts to select a design for the Qing dynasty costume style. Fifth, seven final designs were selected through revisions to compose a collection with unity and balance. Sixth, colour and material were decided for the selected design, and the work was completed through pattern making, sewing, and fitting process. These seven works were designed with motifs of the Qing dynasty's slit, liling, yuanling, hujian, matixiu, manxiu, shuangmanxiu, zhaixiu, pipajin, yourengquejin, yikouzhong, lingyi, yunjian, magua, mamianqun, xingshang, taoku, chaofu, xingfugua, and pao.

• 복식
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• 제56권7호
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• pp.105-120
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• 2006

Today's radical change of environment and technology spreaded high-technology art by cutting across a general idea of art, expressed machine aesthetic in fashion style by influencing materials and production processes of fashion. The purpose of this research is to take another look at the value and the importance of ornaments in terms of fashion design, to overcome the negative aspect of Technology Fashion by designing Retro Technology Fashion that harmonizes reason with sensibilities through floral patterns. The results of this study are as followings. 1. If Retro technology Fashion was analyzed by time and space element that are postmodernism techniques, there are Ethnic Technology Fashion that are based on space and historical Technology Fashion that are based on time. In terms of spare element, there is the hybrid of revival of exotic folklore with Technology fashion. In terms of time element, there is the hybrid of costumes of before 20th Century with Technology Fashion. It means unifying detail or silhouette of costumes of ancient time to modern time wit Technology Fashion. For another time element, the hybrid of retro fashion after 20th Century with Technology Fashion. The retro nostalgia is revived by the floral patterns or silhouette of Hippie fashion unified with Technology Fashion. 2. Based on above research, Retro Technology Fashion with floral pattern on CAD were designed. As the results, for Ethno Fashion that is spatial retro, 'Asian Technology fashion' was designed with bright colors, China collar that are oriental, and vinyl material. For historical Technology fashion that are based on time, 'Space Middle Age' was designed with tight silhouette, party colored pants and plastic material.

• 한국의상디자인학회지
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• 제6권2호
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• pp.49-62
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• 2004

By delivery means of fashion information, fashion dolls appeared in 18th century. According to development of printing, delivery means of fashion information changed from fashion dolls to fashion plates. Fashion plates offer a colorful and in depth view of the stylish fashions of the past. First fashion plate was Hollars print that was inserted to $\ulcorner$La Galerie des Modes et Costumes Francais$\lrcorner$ and that was published at England in 1643. First fashion plate in France could assumes as winter deshabill that was inserted to $\ulcorner$Le Mercure Galant$\lrcorner$ in 1678. The widespred publication of fashion plates began in England and France in the late 18th century. The first true fashion magazine $\ulcorner$The Ladys Magazine$\lrcorner$ was published at London in 1770. And suddenly similar plates were being published all over Europe. Fashion plates reached their height of popularity in the mid-1800s. Modern age in Europe for fashion magazines golden age, hundreds kinds of fashion magazines published in Europe. Copyright laws in Europe were not enforced, resulting in widespread piracy of fashion designs and plates. After 19th century, America and Europe used much Paris imitation plate. $\ulcorner$The Ladys Magazine$\boxUl$, $\ulcorner$La Gallerie des Modes et Costumes Francais$\lrcorner$, $\ulcorner$Les Cabinet des Modes$\lrcorner$, $\ulcorner$Journal des Dames et des Modes$\lrcorner$, $\ulcorner$The Ladys Monthly Museum$\lrcorner$ were the important fashion magazines in 18th century. $\ulcorner$The Ladys Pocket Magazine$\lrcorner$, $\ulcorner$La Mode$\lrcorner$, $\ulcorner$Le Follet$\lrcorner$, $\ulcorner$La Mode Illustree$\lrcorner$, $\ulcorner$$\ulcorner$The Queen$\lrcorner$ were the important fashion magazines in 19th century. $\ulcorner$Journal des Dames et des Modes$\lrcorner$, $\ulcorner$Gazette du bon ton$\lrcorner$ were the important fashion magazines in early 20th century.

• 복식
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• 제66권4호
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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.

• 한국의류산업학회지
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• 제15권2호
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• pp.202-209
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• 2013

This study suggests a new women's upper clothing based on traditional Korean costumes that utilize the Jatmulim. The Jatmulim is an example of the skill found in conditional Korean costumes and is of a small triangular shape. Jatmulim was developed in size, shape, and arrangement through the method of making and using children's Durumagi, the dancer's or shaman's Mongduri, and modern works. A total of five pieces of different women's clothing were suggested by applying the developed Jatmulim. In the first piece, the clothing is a woman's sleeveless blouse based on the construction of the Yoseon-Cheolik from the Joseon period and made with a larger sized Jatmulim in the back of the neckline and shoulders. In the second piece, the clothing is designed for a woman's jacket based on the Bansuui of the Joseon period with rectangular Jatmulim in the front neckline and at the end of the sleeves. In the third piece, the clothing is designed for a woman's sleeveless blouse based on the Danryeong with rectangular Jatmulim in the neckline. In the fourth piece, the construction of the Jeogori is applied to the clothing for making a woman's jacket that has a bigger sized Jatmulim in the front part as a decoration. In the fifth work, the clothing is designed for a sleeveless blouse based on the Dapho with a different sized arrangement of the Jatmulim in the neckline.

• 복식문화연구
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• 제10권6호
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• pp.648-665
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• 2002

This study is to analysis on movie costume including the personal characters, social influences and situational effects of the main heroines among the expressions of clothing through the movie, "Gone with the Wind" produced by the MGM Company in America in 1939 with the collapse of the social classes through the American Civil War as its setting. The range of this study is to look into the images of cinema costumes like the colors and silhouette related to the roles based on the movie. According to this study, first, we can see the changing process from crinoline to bustle styles by historical invastigations into clothing styles rather than the images of roles in the aspect of silhouette Scarlet of hanghty and challenging character is shawn in X-type silhouette mainly using capped sleeves and laces and Mellany of obedient and generous character, compared with Scarlet, is showing less detail effects, and is expressed in A-type silhouette of modesty and maturity. Second, there are remarkable differences of colors and details in which starlet who had the pioneer spirit used the vivid tones like red, green and black, and white laces and blades as an accent while Mellany who was considerate and soft used the dark tones like black and blue, and white and blue lace shawls And third, in images, Scarlet who was very positive in sociai activities is expressed as a elegance and romantic images in the sophisticated and modern styles but Mellany who was a good and steady housewife was shown as a elegance image in the mannish styles.