• International Journal of Costume and Fashion
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• 제16권2호
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• pp.67-79
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• 2016

The Oroqen (鄂伦春) traditional costume refers to what the nomadic Oroqen people used to wear before they settled into fixed communities. With very limited contact with the outside world and with limited resources, the clothing material was virtually entirely animal hide. With settlement, especially after 1996, animal hide clothing has declined among the Oroqen. As an important part of Oroqen tradition and culture, the Oroqen people keep endevoring to promote costume design through competition and exhibitions. Therefore, this paper seeks to present an insightful understanding of Oroqen culture and the formative features of their general clothing. We explored the formative features of Oroqen animal hide clothing based on an analysis of actual artifacts and literature. As a result, the characteristics of Oroqen hide clothing were found in five types - coats, trousers, hats, shoes, gloves. For the decoration, embroidery and applique were their way of decoration, and Mother Nature was their source of pattern design.

• 한국의류산업학회지
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• 제3권2호
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• pp.105-114
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• 2001

The result of this study is on textile expressed in the costume of the Kazakh tribe, Kirgiz tribe, Tajik tribe. Basically the material of costume is fur, cotton flannel, felt, silk, cotton outwear, velvet cloth and beads, silver, earing, bracelet is used frequently. The tribes did embroider on the shoes, made of sheepskin or calfskin and collar, belt, button, pocket with the sketch of national trait. Eventually their cultures of costume seem to be very similar because of the resemblances in circumstance of nature, religion, custom of life but definitely they show conservatism in itself and independent culture. In the basic structure of traditional costume by races, there is no big difference. Then, in men, the trousers and the shirts of tunic type become the basic with the style which is convenient to act. And, to wear vest, or jacket, or chaban, over it makes a little difference. In women also, same structure shows with the form to wear vest or outwear, on the basis of one piece. But, in a small hat, head wear, color contrast, and decoration element etc., strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion, and life habit etc., But, the discrimination is made in the detailed side. So, it can be said that they show the conservative nature of nationalities, and have preserved the unique identity of their own culture.

• 한국의류산업학회지
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• 제10권2호
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• pp.138-146
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• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.

• 복식
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• 제52권1호
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• pp.69-87
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• 2002

The Eastern Slavic. the mongolian and the Korean wedding ceremony proceed through those three stages :pre-wedding, and after-wedding. (n the pre-wedding stage, the marriage is arranged when the parents make a decision on a matchmaking proposal. In the main wedding, the bridegroom visits the bride, and the bride walks through the many different procedures, which represent the life and the responsibilities of married women. Expecially, the wedding ceremony is finished and culminated by making hairstyle and wearing of headgear for married woman to the bride. The wedding costume of the Eastern Slav, the Mongolian, and the Korean has been developed with their different characters of styling. The traditional costumes of the each native are worn with the addition of a splendid decorative expression. The Eastern Slavic bride wears Lubaha and Sarapan or a skirt and bridegroom's wedding costume consist with Lubaha and Shitany(trousers). The Mongolian bride wears Deel and Ozh(Ooj) the vest and bridegroom wears Deel and Hantaaz. The Eastern slavic, the mongolian and the Korean bride wears various and gorgous headgears which have reflected cultural values: their traditional views of a wedding ceremony, expected change of social roles for married people. The wedding ceremony of these 3 natives had been performed by the symbolic meaning of the union of the bride to the bridegroom's family.

• 복식
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• 제54권4호
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• pp.85-95
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• 2004

The Purpose of this study was to find a phase of clothing in Korean proverb. The results of the analysis of this research was as follows： In the case of headgear, was expose that symbolize handsomeness, conduct of life, personality that display charm and position which is not usage as only head protection. Upper wear was expressing aspect and person's similarity, and was symbolizing conduct of life by meaning of dress and its ornaments according to a person that dress displays that change. Trousers(bottom wear) was expose that it means aspect or conduct of life(a 4 case, 40％) through site. Overcoat showed that overcoat that is clothes that is symbolizing wearer's situation, aspect and wear most on face because is involved with behavior that is not right in clothes usage is used by standard that foretell personality. Underwear can know that expressed being involved with right behavior, nature by the basic clothes. I was able to know that I express an attitude of a life or a form through shoe, and the accessories won an minor order but that I have a large influence on a character or the appearance of a person. Silk fabrics expresses Position, and hemp cloth expressed by symbol that display ability. Also, silk fabrics had meaning that hint person's background. Dress and its ornaments that is used in proverb by these result can know that have function as symbolic symbol that display Person's nature or situation, aspect that is wearing clothes that is not function as only simple clothes.

• 복식
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• 제59권7호
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• pp.1-16
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• 2009

This study is on the children's clothing in Seoul Gyeonggi-do, Chungcheong-do and Gangwon-do between the $1920s{\sim}1950s$, by comparing positive data collected from pictures and literatures, remains and interviews. A baenaet jeogori was made of soft white cotton fabrics and was used as a charm when the baby had grown and had an test or a big occasion. A dureong chima and pungcha trousers were clothes for both boys and girls from their birth to the age of $4{\sim}5$ when they could have bowel movements by themselves. Occasions for celebrating a baby's growth were the one-hundredth day and the first birthday. In general, ordinary families had their babies' one-hundredth day in a simple way without special clothes. On the first birthday, however, even ordinary families prepared new clothes for their babies, and read their fortune and prayed for their well being and long life through events such as doljabi. In the age when medicine was poor and the infant mortality was high, the meaning of such a ceremony was to congratulate on the baby's safe growth through dangerous moments.

• 한국화재소방학회논문지
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• 제19권1호
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• pp.46-50
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• 2005

본 논문에서는 작업복의 연소특성을 실험적으로 연구하였으며, 초기 점화위치는 상의소매 부분, 상의전면 중앙부분 및 하의무릎 부분으로 하였다. 실험결과는 다음과 같다. 미연소 질량비는 점화위치가 하의무릎 부분의 경우가 가장 빨리 감소하며 다음으로 상의소매 부분, 상의전면 중앙부분의 경우 순으로 감소하였다. 최고평균표면온도는 점화위치가 상의소매 부분, 상의전면 중앙부분, 하의무릎 부분의 경우 순으로 높게 나타났다. 연소 중 최고복사열유속은 점화위치가 상의소매 부분$(0.5\;W/cm^2)$, 상의전면 중앙부분 $(0.45\;W/cm^2)$, 하의무릎 부분$(0.44\;W/cm^2)$의 경우 순으로 높게 나타났다.

• 한국의류산업학회지
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• 제9권5호
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• pp.528-537
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• 2007

The aims of this study was to provide useful informations to the uniform industries to promote the production of the functional and esthetical goods. The subjects of this study were the 243 department woman employees in Daegu City. The data were analysed through factor analysis, one-way ANOVA, Scheffe-test, $x^2$-test, and t-test. The result were as follows; The ages were from 20 to 50 years old, and their working divisions were clothing (46.5%), food (18.1%), miscellaneous (14.4%), daily articles (11.1%). The evaluation of characteristics of their uniform was somewhat unsatisfactory (2.65) and showed the significant differences among the age groups. The unsatisfaction of blouse materials (2.11) were the highest among the evaluation of the materials, and the inconveniency of sitting posture with folding knees were the highest (3.98) and showed the significant differences among the working division groups. The significant differences of the fitness were showed in the sleeve length of blouse, the length of vest, and the length of trousers.

• 복식
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• 제54권8호
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• pp.101-112
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• 2004

The purpose of this study was to survey the present circumstance of uniform's design and to suggest a design for employees who work for Korean restaurants in Hotels. The subject of study are 10 restaurants which are located in the first class hotels in seoul. And the period of research were 2 months between November, 2003 and December, 2003. The result of research was analyzed by various methods - which consider the frequency, percentage, T-test, crosstabs, and one-way ANOVA. The results are as follows: $1.40{\%}$ of subject adopt a general style which is not traditional style and $60{\%}$ of subject do a Han-Bok or casual Han-Bok which is traditional style. 2. About satisfaction of uniforms, $50{\%}$ of people who is wearing general style has been satisfying their uniform. And $33{\%}$ of people who is wearing traditional style has only been satisfying. 3. People prefer uniform that is made of wrinkle free fabrics and has pockets. In shape of design, they want that ankle-length of trousers, 7/8 sleeves's jackets with waist line-length, and narrow ends. They prefer that a coat has a knob button and there is a zipper in a skirt.

• 복식
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• 제5권
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• pp.7-11
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• 1981

In the vast extent of time, man and his ancestors have existed on earth about 2,000,000 years. For Near-Man, they knew how to make fire and protected themselves with hairs. Old-Man covered their bodies with the skins of wild animals. New Man improved the quality, the range and ingenuity, so they fabricated clothes with the animal skins. New Man is considered as ancestor of Modern Man. They had spread widely over the earth to take advantage of their surroundings. The next period, New Stone Age was chiefly distinguished by agricultural age. He was now about to make clothes from natural fibers. The two most obvious orgins of clothing are to protect the body against environment and to decorate the body. The forms of clothing were different from the various climates and regions they had settled, for example Yo-po Hyung (Apron), Kwae-po Hung (Sewn garment), Kwan-doo Hyung (Poncho), Chun-kae Hyung (Frontopend garment), Chai-hyung Hyung (Body-conforming shape). Our ancestor had moved from Baikal Lake, Central Asia toward northeast; Shun-tung in China, Manchuria and at last Han Panninsula. Considering our basic costume of ancient times were Yu(jacket), Ko(trousers), Sang(skirt), Po (coat) with the accessories of Kwan (crown), Mo (hat), Dai (belt), Hwa, Eie (footwear), here I conjecture our costume of prehistoric period was Chaihyung Hyung(Body-conforming shape) in the purpose of body covering.