• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.15-37
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• 2011

This study is on dancing dresses of the costumes of Gum-Mu(劍舞, sword dance) in southern, central, and northern region of Korea, focusing on the origin, characteristics and the way of dance. The reason why the Gum-Mu is full of local color is that royal Korean Gisaeng(妓生) and local Gisaeng returned to their hometown and propagated this dance to each regional Kyobang. They combined court sword with each local dance and music and formed the present style of regional Gum-Mu. Dance and music native to area, which has formed today's regional Gum-Mu. The composition of current dancing costume of the sword dance is Jeogori, Chima, Jeondae(戰帶), Jeonrib(戰笠), Kwaeja(快子) Also, The complement colors harmonizing with color of Yin-Yang & Five Elements. which are yellow, blue, white, red, and black, are usually used. And the masculinity in dance were expressed withmore use of blue, and red in the opposite but if a sword dance takes on masculine character, blue color is more used, if feminie character, reddish colors, such as pink and red, are used. Thus, JinJu, Honam, Haeju, Pyeongyang dancing Suit of Gum-Mu feature blue color, Tongyeong, Kyeonggi, Court(seoul)dancing Suit of Gum-Mu feature reddish color.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.95-112
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• 2005

Hair styles, dresses and their ornaments are basic measures that show the trend of the times, the people and their life in both Eastern and Western societies. The history of a country could start or be extinguished at any time, but life goes on. Koguryo was founded around Anno Domini and fell at 668 A. D. What was Koguryo people like? How was their hair style and costume? This study aims to respond those questions. The Koguryo ancient mural paintings can be broadly divided into the Jip-An region and the Pyon-Yang region. Among the paintings found, that in the An-Ak 3rd ancient tomb at the Pyon-Yang region is the biggest and the most splendid. It is a figure genre painting, which contains a kitchen, a rice mill, a stable, a barn, a garage, etc. Those places illustrate the way of life at the time. The painting also comprises a man with a crown, who is seen as the king and owner of this tomb. The woman with a vertically designed hair style is perceived as the queen. A highly guarded and decorated royal parade is also presented in detail. The hair styles and costume evidence in the An-Ak 3rd ancient tomb are not seen in the paintings of the Jip-An region. This study inquires into the differences between the Pyon-Yang and lip-An regions through the history and the culture of those areas. Nevertheless, it could prove tentative to confirm the owner of the An-Ak 3rd ancient tomb with the only evidence of the words found in the wall of the tomb. It is the author's intention to study and analyse further.

• Human Ecology Research
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• v.56 no.2
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• pp.195-203
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• 2018

Online game digital hanbok has an aesthetic value in a digital culture and is useful for developing a digital hanbok design for online games as well as other industries. This thesis analyzes its attire and design composition elements to design a 3D digital hanbok by utilizing its formative characteristics. The literature review defines them as transmutability, virtuality, fictionality, reality and playfulness based on the characteristics of digital media, late digital generation and online games. We analyzed 471 images from 50 online games. Sonmaep was used for making 3D digital hanboks. Its attire was grouped into jogori pants, jogori chima, po and armor. Its design composition elements were classified as pleat, layering mu or hemline, mu sub gyeopmagi mitbadae, vent, git dongjung and decoration elements. The results feature 8 digital hanbok designs. Reality designs are replicas of jogori daegugo for men and po for women in the period of the Three States. Virtuality designs are slightly changed shapes of yoseoncheolrik for men and white jogori yellow chima for women in the Koryo Dynasty. Fictionality designs are casual fusion armors for men and women as a hyperbolic form. Playfulness designs are doll costumes for men and jogori chima for women as a kitsch and childish style. The concept of online game digital hanbok escapes from conceptual limitations of traditional hanboks. This result can be used for designing digital hanbok contents in various industrial parts.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.171-187
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• 2013

This is a study on the military costumes of Hunryeondogam, which was the center of Five Military Camps in the mid and the late Joseon dynasty. I confirmed the characteristics and system of military costumes of Hunryeondogam by document research and positive research. The military organization of Hunryeondogam was comprised of the high-ranking military officers such as Hunryeondaejang, Junggun, Cheonchong, Byeoljang and Gukbyeoljang, the mid and low ranking military officers such as Pachong, Chogwa and soldiers. And the military costume of Hunryeondogam included Gapju, Yoongbok and Goonbok for military officers and all kinds of military uniforms for soldiers. Imjin war and ritualized military ceremonies in the era of peace had influence on the military costume. Officers, for example, were wearing Dangap and soldiers were wearing Cheolgap or Pigap that depended on the branch of the army. Politically, kings in the mid and the late Joseon had organized military organizations to strengthen their royal authority. I think that the policy can be effectively seen by observing the military costume system. The qualitative differences in cloth materials and the presence or absence of patterns of Goonbok, the qualitative differences in the decoration of Jeonrip and the presence or absence of Yodae were able to distinguish the identity and the rank. An assumption can be made that these things could have been affected by social causes, such as frequent trips of the King and stable society. This cause could be influence on substitute Yoongbok with Goonbok that from the low ranking military officers to the high ranking military officers of Hunryeondogam. The societal changes in the mid and the late Joseon dynasty are reflected on the military costumes system of Hunryeondogam.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1836-1843
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• 2010

This research examines the possibilities of a traditional costume revival and digital exhibition as well as the application of 3D virtual clothing modeling data in order to preserve and record a disappearing costume heritage to realize it as a social education tool through the newly emerging technology of 3D virtual clothing. A 3D revival of costumes worn by royal families and aristocrats was accomplished through the 3D animation and simulation technology of Maya 2011 (Autodesk, Inc.) and Qualoth (FX Gear, Inc.). The simulation shows the possibility of a 3D revival and digital exhibition of costume heritage. However, further technology support to analyze and realize the composition and design is still necessary to develop the digital contents of traditional garment culture that includes skirt pleats, petticoat silhouettes, that exaggerates the skirts and knots of traditional upper garments (Jeogori). Further studies on design attributes of historic costumes and the upgrading of 3D simulation software are required to realize 3D virtual clothing. Korean traditional costumes will be revived as a cultural content in the digital era as a result of outstanding issues detected by this study.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.123-138
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• 2019

The hat on the back of the upper jacket in Scythian, in of northern region surrounding the Black Sea, is described as a typical woolen hood, but until now has been overlooked in Korean costume studies. The purpose of this study is to analyze the hat on the upper jacket in Scythians and to recognize the meaning of the hat. A further purpose is to complete the basic framework of research concerning the Scythian costume by adding the part that was overlooked previously As for the research method, we collected literature, previous research results, the exhibition catalog, and the related artifacts for analysis. The literature was collected at the German Archaeological Research Institute. The analysis of artifacts was based on data collected by the researchers at the Heremitage Museum in Russia and data was taken by the staff of the Heremitage Museum. The conclusions of this study are as follows: Among the artifacts in the northern region of the Black Sea, it was perviously believed that Scythians status was signified by the wearing of hat-tops. Regardless of age, warriors and knights all wore upper jackets with hats, so it appears that the people who are active wore upper jackets with hats. On the other hand, it was assumed that the royal family, who wore ornamented, colorful, and decorative hats were not observed to have worn upper jackets with hats, and therefore did not require a hat. Therefore, it is considered that the hat in the Scythian society was a costume element emphasizing practicality, not necessarily a class symbol.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.48-62
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• 2015

Practice is essential in art and design. Through practice, artists gain tacit knowledge that is hard to acquire from conventional academic studies. This paper characterizes practice-led research in the study of fashion and textile design through the investigation of practice-led research theses in the UK. According to relevant literature, which includes four exemplary case studies, the following features can be drawn: First, the methodology is different in each case and the use of practice is unconventional. Second, the research is not always aimed at making products. Third, the structure follows an iterative process. Fourth, the ratios of theory and practice are different and various theories are used. Fifth, a personal journal or diary is used for reflection as a major aid to research. Lastly, the process should be recorded by a thorough academic method. Practice-led research can have unexpected outcomes in theory and practice. It can be a good option for fashion practice research to develop a better evaluation method and reduce the gap between subjectivity and objectivity.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.94-105
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• 2009

Hwai-ot is the embroidered bridal red robe that represents the beauty of Korean traditional costume. As there are very few remains of Hwal-ot that are pass to date, the study on Hwal-ot has been limited to the Hwal-ot of Princess Bok-on and some civilian Hwal-ot relics. In this study, I tried to perform a positive research on Hwal-ot of the latter Joseon dynasty by inspecting these Hwal-ot remains housed at Field Museum of Chicago. This study has its meaning in the fact that it tried to illuminate diverse features and beautiful formation of the Korean traditional Hwal-ot by comparing those possessed by overseas museums with the ones in Korean museums. Number 33157 Hwal-ot has very unique pattern with both embroidery and gold imprint decorated. It has less embroidery than the Princess Bok-on's Hwal-ot but has much diverse gold imprint patterns. Other four Hwal-ot remains, other than the number 33157, have similar characteristics with the Hwal-ot housed at Changdeok-gung, whose reproductions are also kept at Dankook University Muesum and Ewha Womans University Museum, which makes it possible to deduce that they have typical characteristics of the Royal Hwal-ot of the latter Joseon dynasty.

• Journal of the Korean Society of Costume
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• v.43
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• pp.97-108
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• 1999

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamonokatary$\boxUl$ focus on Color and Dying. $\boxDr$Eigamonokatary$\boxUl$is a novel described the life style of Royal Court from 883 till 1107. The discoveries of this paper were as follows. 1. The materials of colors and dyeing which are described in this book reflect the features of the age well. We can assume that the point of its chic might rest on colors and dyeing than design or pattern. 2. Sine they enjoyed wearing lots of clothes which are in the same design but in different colors with the underwear. When color coordinate was fashioned we call them "Kasanenoirome". This type of dressing was in vogue in the age of Heian when there were several devices of showing chic in dressing. 3. The color of clothes at that time might represent one's official position the black the highest class following the purple the red and the blue or green. The black color was made from the purple or blue. The Japanese Emperor would wear reddish yellow or blue clothes according to the nature of his office work. 4. Some of Japanese fashion might be influenced by Korean styles in the respects of coordinating colors and adjusting Buddhist fashion etc. It is required that the turther studies of comparing Korean fashion styles with Japanese ones should be deepened. deepened.