• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.340-341
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• 2004

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.05a
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• pp.231-234
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• 2009

남성 속옷은 신체 보호의 기능이 중요하지만 운동이나 거실 생활에서 속옷노출이 일반화됨에 따라 개성과 이미지를 표현할 수 있는 패션 아이템으로 변화되고 있는 실정이다. 따라서 남성 속옷 시장에서 소비자가 원하는 감성과 이미지를 파악하고 소비자가 선호하는 감성요구에 부합하는 소재 특성이 데이터베이스로 만들어져 소비자가 원하는 속옷 제품개발이 이루어지는 시스템의 구축이 필요하다. 본 연구에서는 남성용 속옷 문양디자인 개발을 위한 목적으로 남성 트렁크 팬티용 문양의 감성 이미지를 파악하고자 하였다. 본 연구를 위하여 시판하는 트렁크 팬티 중 문양의 형태 및 크기, 색상을 달리한 50 종을 수집하였고, 이중 25 종의 트렁크 팬티용 문양 이미지에 대한 주관적 감성평가를 2009년 4 월 부산지역에 거주하는 20 대 남녀 22 명을 대상으로 실시하였다. 주관적 감성평가를 위해 직물 문양 선호도에 관한 선행연구를 바탕으로 빈번하게 출현되는 26 개의 감성 형용어를 추출하였다. 감성 형용어를 7 점 척도로 문항화하여 설문지를 구성하고 설문지와 함께 25 종의 팬티 자극물을 보고 평가하도록 하였다. 수집한 자료의 통계분석을 위해 SPSS Win 12.0을 사용하여 빈도분석, 카이제곱 검정, 요인분석 분간분석 사후분석을 실시하였다. 본 연구결과 남성용 트렁크 팬티의 문양에 관한 감성 형용에는 '고급성', '활동성', '단순성', '호화성', '성숙성'의 요인으로 요약되었으며, 문양의 고급 감성 및 활동적 스타일이 트렁크 팬티 선호도에 영향을 주는 것으로 나타났다. 또한 트렁크 팬티의 색상 및 문양 유형이 선호도에 중요한 영향을 미치는 변수로 나타났는데, 남성 트렁크 팬티에 사용될 수 있는 무채색 계열의 고급스러우면서 단순한 도형 문양 디자인의 개발이 필요하다고 하겠다.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.113-128
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• 2004

This study examined textiles used for ancient costumes of the $16{\cdot}17th$ century in Joseon period, focusing on fabric types and patterns of the costumes from tombs. The purpose of this study was focused on investigating the relationship between fabrics and social backgrounds, especially change in using fabrics through the war from Hidyoshi's Invasion of Korea in 1592. Since the war must have had an effect on the life of people's. The result of the study is that silk occupies $69{\%}$ of all textiles, and cotton, linen follow The weaving method of silk was primarily Plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo Period, were considerably decreased in Joseon Period. Types excavated fabrics in the $16{\cdot}17th$ century Joseon period can be said various. Of this, silk was the most remarkable one till Hidyoshi's Invasion of Korea in 1592, when the ratio of patterned silk dramatically decreased. Contrarily, the ratio of cotton and plain fabric increased rapidly in Hidyoshi's Invasion of Korea in 1592. It is supposed that the result is largely due to unusual condition of the war time. After the war, it is estimated that use of pattened fabric as well as silk was decreased. Patterns of textile fabrics in $16{\cdot}17th$ century were various. In result of surveying a trend of increment and decrement, it is known that the ratio of patterned textile fabrics decreased dramatically in Hidyoshi's Invasion of Korea in 1592 and Manchu war of 1636. Tendency of textile use by social Position is more notable. It is appeared that a lot of silk fabrics were used in High hierarchy. The excavated remain and ratio of silk were the highest in Kyonggi Province including Seoul.

• Fashion & Textile Research Journal
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• v.8 no.4
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• pp.400-406
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• 2006

The purpose of this study is to investigate characteristics of arrangement methods and weaving types of fabrics during 16-17 century. Research was done through the references of exhumed clothing in Chosun Dynesty. Seeing the waving types of fabrics of flower patterned fabrics of total 108 items, satin damask(Dahn) was 71items, took the majority. And the next order was twill(Neung) and plain(Ju). It means Dahn was the most popular fabric among the upper classes. It was regarded as one of the noble textiles, because of its luxurious appearance and pleasant touch. Flower patterned plain fabric(Munju) was found only 9items, even though the plain fabric was the most common used type. Assumed for the reason, Chosun government had restrict to extravagance of the people. In terms of the arrangement of flower pattern, it can be classified into three methods. The most common arrangement method was Arabesque type, followed by open order shaped type and scattering shaped type. In the repetition of pattern, there were brick-shaped pattern and half drop pattern which were spread flower pattern all over the surface of fabric.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.193-202
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• 2007

The purpose of this study was to find out effects of textile motifs and the application methods on wearer's image perception. A survey was conducted to total of 255 male and female university students who are residing in Daejeon and Chungnam province. The stimuli were composed of 2 level tones(dark and light), 3 level complexity(simple, medial and complex), 3 patterns(polka dot, stripe and check) and the 2 way of stimuli application methods(fabric and garment). The instrument for measuring preference of stimuli consisted of 4 items, encouraging, preference, purchasing and popularity. The instrument for measuring image of stimuli consisted 24 pair items. Factor analysis for the adjective pair images(24 inquiries) about the textile patterns which were used in this study was performed. It resulted as three factors which are attraction, salience, and potential. Attraction, salience, and potency dimensions showed the most significant interaction effects of application methods and patterns. And tone and application method effected attraction and salience, tones and patterns effected attraction, tones and complex effected salience. Application methods and patterns effected potential and patterns and complex effected salience. The preferences toward stimuli, it resulted only interaction of tones and patterns affected the preferences('total preference' and 'purchasing'). Pearson's product-moment correlation analysis carried out to find out the relation of images of clothing and preferences. As a result, salience was significant relation with attraction and potency. In correlation between image of textile pattern and preference, attraction is most significant relation with the preference. The results of the study could be used for the marketing strategies of the motif in fashion product.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.169-176
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• 2004

The clouds-shaped pattern is originated from Taoism, Buddhism, and Confucianism. It stands for good-luck, longevity and productivity. It has been used on its own or with other patterns since the ancient times. It also has various forms. It particularly was used more frequently than any other patterns as a typical good-luck pattern, representing auspiciousness, divine authority, and so on in Chosun dynasty. The pattern, according to its component parts, is classified as individual type and compound type, which is mixed with other patterns such as treasure pattern, plant pattern, letter pattern, or animal pattern. For both individual type and compound type, swastika-shaped cloud pattern was mostly used. For compound type, the pattern compounded of treasure pattern was extraordinarily used a lot. In terms of the arrangement, the most common arrangement methods were brick-shaped arrangement and dense type arrangement, the arrangement method that spreads the patterns all over the surface. Among the fabrics with clouds-shaped pattern, satin damask fabrics had the majority. Clouds-shaped pattern was used a lot in men's Po(coat), such as Dahnryoung, Jiknyoung, Chollik, etc. rather than in women's clothes. It was a typical pattern used in Dahnryoung, an official uniform that represented people in the highest class in Chosun dynasty. The divine power symbol of this pattern indicated the authority and dignity that the upper class people could have.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.65-77
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• 2005

This stuffy is to understand the symbolic meaning of Korean traditional animal Patterns, to analyze their figurative characteristics focusing on fabric relics of Chosun Dynasty, and to search their internal beauty as well as their external beauty. Animal patterns can be classified as Individual type, the type that only animal patterns are used, and Compound type, the type that animal patterns are used with other patterns. The Individual type was not found at all. Only the Compound type, compounded with two or three other patterns, were found. Among the other patterns used in the Compound type, botanical patterns and heaven-and-earth-shaped patterns were the majority while letters patterns were rarely used. Bird patterns take enormously large part of the animal patterns. In terms of the arrangement, animal patterns are classified as Dense type, Sparse type, and Picturesque type.'rho three types are almost equal in their quantity. Picturesque type is found comparatively a lot. Animal patterns are much more frequently used in female clothes than in male clothes. For female clothes, they are mostly used in some parts of the clothes with ornamental effect. But, for male clothes, they are mainly used all over the fabric by weaving animal patterns on it. Not just their external beauty, animal patterns have also internally beautiful characteristics, such as keeping away from wicked ghosts, hoping for good luck, emblematic features, having ideological meanings, and so on.