• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.145-150
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• 2007

Recently, active movements are occurring to reestablish our own traditional Korean images in all levels of society. One of them is about Ordinary Hanbok. Academics and business sectors are endeavoring to develop comfortable and Korean traditional Hanbok designs and popularize them as well. Based on the facts, the study focuses on developing Ordinary Hanbok designs for women by applying Korean traditional patchwork in order to present handmade, humane senses. First of all, the backgrounds, history and preference of Ordinary Hanbok are discussed through literatures and precedent studies as study methodology. Then, the study is analyzing the formative beauty of Korean traditional patchwork that contains emotions of women in the Chosun Dynasty. After that, it shows Ordinary Hanbok designs developed for women by using checks, free style, and yeoiju patterns of the fabrics dyed with clay and Chinese ink that recently attract people in particular. The results are like followings; First, the limits that excessive transformation of Hanbok may cause the lack of traditional beauty can be covered through using a variety of images of Korean traditional patchwork. Second, diverse face configuration of patchworks has very unique geometric forms so to be easily applied to modern Ordinary Hanbok designs. Third, the sewing technique of patchworks also plays a role as a design factor as important as face configuration. Fourth, utilizing fabric pieces may result in various unplanned face configuration and help resource recycling. Fifth, it is possible to coordinate Hanbok with other ordinary clothes that people normally wear on. Sixth, using patchworks images can encourage developing more active and refined designs added with traditional beauty. Seventh, natural dying and fabrics are eco-friendly, which is good for human health and environment. Finally, more studies should be done on design development based on precedent studies about Ordinary Hanbok. Also, it is important to foster social atmosphere and circumstances where people accept wearing Ordinary Hanbok as our natural culture.

• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.391-400
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• 2007

This purpose of this study is to announce the research for the formative characteristics and the constructive characteristics for the 23 pair of pants excavated from the tomb of Yeosan Song's family at Mokdal Dong in Daejeon. Men and women wore the open-type over the close-type pants. Song Hyo-sang and Chungjoo Park wore the 1 or 2 pairs of the open-type pants over the 3 pairs of close-type pants. Song Hee-jong and his wife Sonhung An wore a pair of the open-style pants over the 1 or 2 pairs of pants. It was due to the shortage of goods by the war that Song Heejong had less shrouds than Song Hyosang. The pants were almost made of the cotton and the silk. The open-type pants worn inside was made of the cotton but outside was made of the silk. That time the cotton was used for the unlined underwears for the health and the protection against the cold and the hot. The silk was used for the outwear. In the construction type, 12 pairs of pants were unlined, 6 pairs of pants were quilted, 4 pairs of pants were padded, and 1 pair of pants was lined. All unlined were the close-type and the quilted and padded pants were the open-type, which were worn inside. Lined type was just one. In the wearing order of shrouds, type, textile, and constructive type, Song Hyosang and Chungjo Park were similar, Song Heejong and Sonhung An were similar.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.87-100
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• 2007

In the Joseon Dynasty, a Court Ladies' full dress was Slanted by the Ming Dynasty. Since the Ming Dynasty had declined, a Court Ladies' full dress, Jeok-ui began to be made by the Joseon Dynasty. It was based on the Chinese Court Ladies' full dress, Desam, but it became Joseon's own style, which was different from the Chinese one. The formula of Jeok-ui was completed in the time of King Yongjo. Since then, Jeok-ui for big ceremonies was called Bub-bok. It was recorded on the Regular rule of Sang-uiwon. The color of Jeok-ui was departmentalized for the wearer; red one for the Queen, bluish black one for the Crown Princess, and purple one for the Queen mother. There were some differences between Jeok-ui for feasts and for big ceremonies. In the case of Jeok-ui for big ceremonies, the pattern of Hyung-bae for the Queen was a dragon with five claws, and for the Crown Princess, a dragon with four claws. On the other hand, in the case of Jeok-ui for feasts, the pattern of Hyung-bae was phoenixes for the Queen, Crown Princess and the Queen mother. The number of embroidered round badges, which were attached to Jeok-ui, was 51 for big ceremonies, and 36 for feasts. The skirt for big ceremonies was a Jeonang-ut-chima with dragons pattern for the Queen, and phoenixes for the Crown Princess. The Queen's skirt for feasts was a Jeonang-ut-chima with phoenixes pattern, and the Queen mother's also. The Crown Princess' was a double skirt with phoenixes pattern. The pearls were not decorated on the shoes for big ceremonies, but shoes for feasts had six big pearls fer decoration. When the royal woman wore Jeok-ui for big ceremonies, it was prepared for Kyu, Pe-ok and belt with jade. But those were not necessary for Jeok-ui for feasts.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.75-86
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• 2004

This study aims at considering and analyzing the stature of denim clothing as an ornament as well ai how aesthetic meaning and human being's mental side indwell in the development of denims. which will be proceeded in the future, from the view of contemporary culture of dressing. It is found that the stylishness expressed through denim clothing is formed on the basis of the cultures of party, drawing and disorganization, and the result of the study was as follows. Firstly, the culture of party became the source of for decoration of denim clothing, and denim clothing more glamorize women as a party-look which makes the most use of its advantage to be comfortable and able to display in various ways with splendid artificial jewelry, patchwork, dyed pattern which is elaborately embroidered. Secondly, Such culture of drawing is applied to denim clothing so that denims are expressed to make people feel more human being's warmth as being free from the existing stereotype and formality. Thirdly, the most outstanding feature of denim clothing showed in the culture of disorganization is to make the most use of vintage style as it is. This reflects an image of the culture of disorganization under postmodernism, which is free from the traditional conception of the existing dressing by destroying the original form, in the way of slashing, making a hole and tearing. That is, people can sufficiently express not only free sense of release based on postmodernism by wearing denim clothing, but also human being's intrinsic desire for restoration of humanism or human warmth with splendid decoration or various techniques such as handicraft. It can be recognized these features as the reasons, that make denim clothing place themselves as an original fashion item, by giving denim clothing technical decoration in recent years.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.981-992
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• 2011

The objectives of this study were to analyze the design elements of hairstyles, wedding headdresses, and necklines in wedding magazine pictures by using content analysis method and to investigate the differences in image perception according to hairstyle, wedding headdress, and neckline. A quasi-experimental method by questionnaire was used. The experimental design was a $2{\times}5{\times}4$(hairstyles${\times}$wedding headdresses${\times}$necklines) factorial design by 3 independent variables. The subjects consisted of 378 female college students. The results are as follow. First, the most popular among hairstyles, headdresses, and neckline forms were the updo hairstyle, dark brown hair color, the crown headdress, white flowers, and the horizontal bared top. Second, the elements determined to be most elegant and attractive were the medium-up hairstyle and the crown with a veil. However the wedding hat was perceived to be high in individuality and tenderness, while the flower and the wedding hat were perceived to be very pretty. The halter neckline was perceived to be higher in individuality and attractiveness than the other neckline types. Third, the medium-up hairstyle when wearing a crown with veil was perceived to be the most elegant. Placing a flower in the long-wave hairstyle was evaluated as looking most pretty. Fourth, the medium-up hairstyle was higher in preference than the long-wave style. Among wedding headdresses, there was greatest preference for a crown.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.163-179
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• 2010

False sleeves are 'the sleeves that are attached to clothes but exist just as a part without any function to put arms in them.' They are different from sleeves to put arms in them and are to follow the trend or a way of wearing clothes. They are mostly found in medieval Europe's decorative sleeves named 'Hanging sleeves', but they are also found in Eastern region, too. They are found in sleeves that attached women's headgear in East and Middle Asia, and also in high-class male caftan in Ottoman Turk in the 16th and 17th century. False sleeves can be divided into two kinds by shapes. The first ones are the decorative sleeves of which trunk-shaped sleeves hang around the whole or part of the arm hole but have no function to put arms in them; this is called as 'sleeve-shaped False sleeves'. These sleeves are found in women's headgear in medieval Europe, Ottoman Turk, and East and Middle Asia. False sleeves in Europe and Ottoman Turk played a role in showing wealth and power while those in East and Middle Asia had a great role in highlighting the costume's decorative effect. The second ones are the sleeves hanging down from the arms by attaching long cloth to the arm hole, in design; these are named as 'cape-shaped False sleeves.' This style is found only in medieval Europe, and presumably, these cape-shaped false sleeves may have played a role in boasting of one's wealth and power.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.137-152
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• 2007

The purpose of this study is to research on concept, consisting factors, and specialties of theme park' character costumes to understand better about character costumes as well as to establish fundamental research data. The characteristics of character costumes in the theme park are as follows. First, theme park' character costumes are personified so that visitors may feel friendly and have emotional communication with them. Specially, costume that anthropomorphize an animal(85.3%) and silhouette of lozenge style(86.8%) dominated the highest weight. Animal figures are walking upright and wearing human's clothes. They communicate with visitors using mime actions. Second, various types of body proportion is applied to highlight the characteristics of character costume. Most character costumes are applied with unrealistic body proportion. This unrealistic body proportion give abnormal image and looks funny. The important factor is size of their head. Especially, 3.5 body proportion(78.9%) is general. Third, simplification, exaggeration, shrinkage, and modification are other factors. Simplification is applied differently by parts. Pocket, collar details are simplified to clarify the character's image. More simplification can lead to ommission. For their head, peculiar parts look stand out but other parts are simplified to stress their characteristics. Exaggeration is used with shrinkage to give strong impression to visitors. Forms are broken intentionally and they are modified. They look impressive because they are not harmonized. It is unexpected image and induces humor and familiar feelings. Matter of stylization includes exaggeration, shrinkage, modification and movement of actors that have tangible factor of character costume.

• Fashion & Textile Research Journal
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• v.12 no.3
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• pp.364-371
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• 2010

The purpose of this study is to weigh the students' backpacks of middle school in daily use and to analyse their physiological responses and subjective senses when carrying backpack in order to promote healthy and comfort school life of girl middle school students. Two female students were subjects who answered the questionnaires on two types of backpack and their metabolism, perspiration and the changes of skin temperature were measured in constant environment chamber, $25{\pm}1$ and $49{\pm}10$% RH. They walked on the treadmill carrying the backpack with the increment of backpack weight, 2 kg, 4 kg to 6 kg. When the backpack increases to 6 kg, the discomfort parameters and responses increases rapidly. Comparing with general type, improved type of backpack showed good results in physiological responses, but not in subjective senses, such as the ease of movement, pain, or total preference, specially in 2 kg and 4 kg. The girl students prefer the general type of backpack which is of fashion and small, when it weighs light such as 2 kg or 4 kg, while they prefer the improved bag which is functional when it is heavy as 6 kg. The longer wearing time of the medium weight, for example, 4 kg without feeling or recognition of any discomfort due to fashion style, might cause the students' posture and health weaker or more vulnerable to the problems.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.99-116
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• 2014

The purpose of this study was to examine the state of scrub wearing among scrub uniforms medical staff. The results of the research is the following. First, As for the state of scrub uniforms, they wore scrubs only while they gave medical treatment and took care of routine work. Regarding the design of their current scrubs, type 1 was dominant, and the most common color was dark sky blue. Second, Concerning considerations for scrub design, they answered that scrubs should be designed to give no inconvenience during job performance. As for the image, they placed the most importance in a clean image due to hygiene. In relation to preference for color, pattern and materials, they had the most preference for dark blue, no pattern and materials that would not easily be contaminated. Third, As to preference for the length of the top, they were most fond of hip length, and short sleeves were their favorite length of sleeve. Concerning the design of the front and the back of the top, they had a liking for a box style with no straight cutting line. As for the design of the neckline, hem and pocket of the top, they had the most preference for round neckline, square bottom and round patch pocket respectively. Fourth, when the design preference of the respondents was analyzed, there were a difference between the men and the women in preference for neckline design. The women had a liking for round neck, whereas the men were fond of V neck. And the women showed a higher preference for rubber waistband than the men for the waist design of the pants. No gender differences were found in preference for color, pattern and the length of the top.