• 복식
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• 제58권7호
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• pp.119-132
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• 2008

This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 복식
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• 제43권
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• pp.187-202
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• 1999

The objectives of this study were to analyze the effect of dress(Korean traditional dress and suit) of elderly Women and situation on impression formation. The experimental design was $10\times{2}\times{2(dress}\times{perceiver's age}\times{situation)}$ factorial design by 3 independent variables. The stimuli of color photographs of female in her 60's model and the semantic differential scale were used. Six variables of impression formation were used: preference: elegance: potency: activity: feminine: and modernity. Samples were 400 women 200 were in their twenties and 200 in their forties and fifties. The data were analyzed by $\alpha$-reliability t-test ANOVA and duncan's multiple range test. The Korean traditional dress with the combination of Korean traditional color(light blue upper dress with dark red purple collar and string.dark blue skit) had the most positive effect on impression of elegance. Pink traditional dress and light blue traditional dress had a negative effect on impression of potency activity and modernity. Red purple suit had a positive effect on potency and modernity. The interaction between dress perceiver's age and stituation was significant for the impression of activity. Women in their 40's and 50's perceived the activity of red purple suit positively in the situation of alumnae meeting more than in the wedding ceremony. The perceived age of the stimulus person was different according to dresses. Traditional dresses was perceived older than suits were. Women in their 40's and 50's evaluated preferences of the dresses positively more than 20's did. This means that 40's and 50's feel similarity with the stimulus person more than 20's as the age of model was in their 60's The result supports the theory that similarity is basic factor in interpersonal attraction.

• 복식
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• 제61권4호
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• pp.92-102
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• 2011

This study researches the current status of shrouds and analyzes the current status of the Hanji shrouds and sets its goal on suggesting the direction for a futuristic shroud design, suitable for the changing funeral culture. For this, the characteristics of traditional shrouds were studied, standard shrouds' and Hanji shrouds' current statuses were researched and analyzed to suggest the development diretion for design of Hanji shrouds. The results of the research showed that the Hanji shrouds are superior in cremation and burial, and the design expressions were more effective. Also the previously established shrouds were shown to have an increase in value through use of different materials, changing designs through various patterns, or through the added symbolic value. Thus the direction of shroud development designs based on the advantages of Hanji have been drawn out to as follows: First, traditional shrouds used the ceremonial dresses, such as official uniforms or wedding dresses, from the Tang dynasty which made it multicolored. Afterwards colors were limited with the use of hemp clothes shrouds but with the appearance of Hanji shrouds, the possibility for mulitcolors and patterns became larger. Second, Hanji is superior in its expression of colors and patterns, making designs with symbolic sides such as religion possible, to meet the demands of the customers. Third, Hanji shrouds are more environmentaly friendly than the standard shrouds in cremation and burial, and it presents a much better image of shrouds for the future society. Such development of Hanji shrouds design developments satisfies the distinct and gentrified demands of the customers and it looks to be able to suggest an opportunity for environmentaly friendly actions while preparing itself for the chaning market demands and values.

• 대한가정학회지
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• 제11권2호
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• pp.147-165
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• 1973

One of the characteristics of feudal society is the control of the dress and ornamentation which stand for various social classes and personal relationships. Throughout the Yi-Dynasty, certain forms of dress and ornamentation were controlled or prohibited by the government. For instance, there was a Ban on the use of gold and silver for ornaments and silks or satins for dresses, and the violator was subject to severe punishment according to the penal laws. This seems to have been done more for symbolism and the dignity of the various social ranks and powers than as an economic measure against foreign products. The use of yellow cloth, for instance, was once banned out of blind submission to the traditional practices in China, then the most powerful nation in Asia. The working classes were prohibited to use any silks of foreign production. This was done to discourage a spirit of wasteful luxury and the tendency to prefer the often higher quality foreign product. The government regulated the class of the traditional wedding ceremony, again as a means of both encouraging economy and reestablishing the distinctions between the classes. In spite of these attempts at control by the government a large trade in smuggled goods was still carried out. This had the effect of impeding the development of the clothing industry in the country.

• 복식
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• 제52권6호
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• pp.25-39
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• 2002

The purpose of this study is to look into dressing practices at the Woinarodo region in terms of ordinary and ritual clothes. Men wore Bqji(trousers) and Jeokori(jackets) as their plain clothes and sometimes Jangsam mid Durumaki(topcoat). During the period of Japanese colony, men wore Western-style clothes. For women it was basic to wear Chima(skirts) and Jeokori. And they preferred Momppe rather when in Japanese rule. In arrangements for their head, men put on gut, and had their hair cut during Japanese nile. Women laid a bundle of their braided hairs on the head or braided their hair, while married women did their hair up in a chignon during the ruling period People of the region put on straw and leather shoes, and then rubber ones since the late 1930s. Hand weaving was a major means of living for women at the region. Ramie, hemp and cotton were mainly weaved by hand. Starching was applied mainly to ramie and cotton. Glues for starching were made of raw rices, cooked rices, wheat flour or gloiopeltis tenax. For ritual clothes, especially in wedding, bridegrooms arranged themselves with Samokwandae and then Put on Baji, Jeokori, Durumaki and Danryung. But they Put on Western-style dresses as the liners of Danryung, and wear Nambawi Rather than the Samo after korean independence from Japanese rule. Bridges wore Chima, Jeokori and Wonsam and Chokdoori and covered their face with Hansam Wonsam did not be worn any longer after Korean independence from the rule. Shrouds for funeral ceremony were manufactured with silks, cotton and hemp, when the chief mourner wore hempen hoods and funeral robes, while women, Chima, made of hemp. and any type of Jeokori.

• 복식문화연구
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• 제8권2호
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.