• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.3
• /
• pp.53-61
• /
• 2005

With the acceptance of western culture, our traditional culture is in the crisis of disappearing. This is especially evident in the clothing and textile field. Therefore it seems essential to apply the traditional Korean aesthetics to our clothing. The purpose of this study is to reconstruct the types of design and analyse the characteristics of patterns expressed in traditional roof-tile. This study attempted to use the roof-tile patterns as motive for all tapestry and fashion design work to realize a creative expression of formative world through on-screen restructuring. The traditional roof-tile patterns were selected for this study because they must be the products created with our ordinary aesthetic values and techniques, and thus may represent our people's unique culture. After all, the expression for a work should be based not on simple representations of a given object but on restructuring of diverse unique forms according to worker's subjective senses. A piece of clothing with the expression of traditional and formative must combine traditional aesthetics of tradition and form. The application of traditional and formative value of Korean pattern in clothing made to be adaptable for wear in our everyday lives. Today there various attempts to combine traditional aesthetics with modem design. Also, the development of unique Korean design aesthetics within the clothing will allow for a distinct elegance that can be recognized by the world know about the Korean culture through the high standards of our clothing.

• Proceedings of the Costume Culture Conference
• /
• 2003.04a
• /
• pp.97-98
• /
• 2003

현대 의상에서의 소재가 차지하는 비중이 날로 커지고 있는 가운데, 과거 공예적 성격을 띠고 있던 염직의 개념이 디자이너들의 자유로운 창작욕구를 표현하는 새로운 장르로 대두되면서 지금까지 사용된 재료와 표현방식에 국한되지 않으며 혁신적 재료의 사용과 개발을 통해 새로운 표현기법이 끊임없이 추구되고 있다. 인류의 역사와 함께 발전되어온 전통적인 기법인 홀치기염은 단지 실용성에서 벗어나 새롭고 다양한 조형예술로서 그 가치를 추구하는 작가의 끊임없는 노력으로 새로운 재료와 기법이 개발되고 그 표현 양식도 다양해지고 있다. (중략)

• Proceedings of the Korea Society of Costume Conference
• /
• 2003.05a
• /
• pp.19-19
• /
• 2003

服飾文化의 일부분으로 染色과 織造에 대한 연구의 중요성은 크지만 染織 실물이 없는 현 상황에서 고대 한국의 染織文化를 이해하는 것은 어려운 일이다. 지금까지 고구려 복식문화에 대한 연구는 주로 古墳壁畵에 표현된 극히 한정된 시각자료를 통해 형태적 측면에 관한 것이 주를 이루고 있으며, 염색이나 직물에 관한 것은 그림 자료의 한계로 인해 충분한 연구가 이루어지지 않고 있다. 더욱이 고대 복식에 대한 공백을 메워주는 중요한 자료로서의 역할을 해온 고분벽화 복식은 해석 여하에 따라 오히려 왜곡된 사실을 강화해 온 듯하다.

• Fashion & Textile Research Journal
• /
• v.8 no.4
• /
• pp.391-399
• /
• 2006

Modern Japan has been known as the country manufacturing Shin-gosen that denotes Japanese synthetic fiber. Japan has long traditon of weaving and dyeing of local traditional Textiles. Japanese traditional weaving and dyeing methods have been handed down through hundred years and various type of textiles have been fabricated in different regions. Japanese modern worldly famous fashion designers are recognized by using the Japanese traditional textiles. Traditional textiles of Japan are inherited in the present age and become the source of inspiration for modern Japanese fashion designers. This research investigated the originality and modernity of 10 kinds of main Japanese traditional textiles by design servey, 5kinds of weaving methods and 5kinds of dyeing methods. The 5kinds weaving methods include Kasuri, Shima, Cizimi, Zohu, Chumugi and 5kinds dyeing methods include Izome, Katazome, Tuzukaki, Uzen, Shibori dyeing.

• Archives of design research
• /
• v.12 no.4
• /
• pp.317-326
• /
• 1999

The Korean traditional color passed down over countless generations has surpassed both surpassed both time and space and continue today to breathe life into its people's everyday. In order to clarify the characteristics of Korean traditional color blue and red, we investigate the names of them and measured the color tones of textile remains in Chosun era. The characteristics of Korean traditional color blue and red have been surveyed by means of the examination of color names in many famous literatures in Chosun era. Korean terms for color tones were characterized by enormous variety of epithes crowned on them. The color names mentioned contain many unaccountable epithes which were characterized also deep colors and light colors were dominant in it. As a means of enhancing possibilities within limited colors, the commoners increased the names for varying tones of blue color group(32kinds) and red color group(40kinds). These "blue(indigo dyeing)' and 'red(safflower dyeing)' in Chosun era were shown very high frequency in use and the costume colors in Royal Court. With combination of these various blue and red colors they represented a thought of color based on Yinyang Theory and created a polished aesthetic taste. The color samples of textile remains in museum were measured and designated by Munsell color system and the ISCC-NBS color designation system. THe appeared rates were derived on Chosun era and features of colors using on the period were discussed. We aim to present specific recipes in indigo dyeing and safflower dyeing for using our apparel product and folk art.

• Journal of the Korean Society of Costume
• /
• v.54 no.7
• /
• pp.55-62
• /
• 2004

Research into the ancient dyeing and weaving culture is of critical importance to the fact that they constitute an integral part of the Korean costume. Due to the absence of the originals reflecting ancient costume cultures, it is difficult to figure out what the dyeing and weaving culture was like in ancient times. Because of limited visual materials available from the wall paintings of ancient tombs, studies conducted so far concerning the costume culture for the Goguryeo have focused on visual elements such as shape, structure, and type. As a result, research into ancient Korean dyeing and weaving cultures hasn't been properly made. Thanks to the presence of both some dyeing fabric originals from Goguryeo's neighboring countries and some visual materials like the wall paintings of the Goguryeo, it may be possible to obtain some clues to the dyeing and weaving culture. The dotted Pattern costumes were selected such as Muyongchong, No. 1 Jangcheon Tomb, Gakjeochong, Samsilchong, Ssangyeongchong, Susanri Tomb. According to a book titled ‘Hanwon’, the Goguryeo people manufactured fabrics in such a way that resist-dyed spots produced elaborate patterns over the purple fabric. It can be safely said that such dot patterns were produced by means of dyeing rather than weaving, because identical patterns aren’t well produced by means of painting and embroidery. Considering Goguryeo’s natural features, the dot patterns mentioned in historical literatures are thought to have been produced using animal’s skin. However, there is highest possibility that the dot Patterns were Produced using tie-resist dyeing or wax-resist dyeing techniques. With respect to the dyeing and weaving culture for the Goguryeo, one must refer to neighboring countries’ dyeing and weaving environments, given that the Goguryeo had engaged substantial cultural exchanges with China.