• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.11-26
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• 2022

The Hallyu wave based on K-pop and K-culture has increased the global interest in Korean culture. Therefore, to satisfy consumer demand, there is an attempt to develop a variable fashion design using traditional Korean culture. Transformable fashion design causes changes in form and meaning according to various situations and needs and can induce active participation of consumers. Therefore, we intend to propose a transformable fashion design that is based on traditional Korean culture but appears in a new form and meets the needs of consumers of fashion design. Among Korean traditional culture, wrapping cloths, bojagi are practically used by ordinary people until now, and their shape and use change according to the user's needs. This study intends to derive expression characteristics by examining the expression tendencies of bojagi and to develop transformable fashion designs through the derived data. The purpose of this study is to make and propose transformable fashion designs in real life using the expression characteristics of Korean bojagi. As the method of this study, we first conducted a literature review. Through this, a case study of empirical production was conducted in parallel with the development and production of transformable fashion designs using bojagi. A total of three illustrations and six variable fashion designs were developed. Two of the six works are transformable fashion design that change through movement and expansion of the square shape, the prototype of the bojagi, and two works are modular, bringing changes in function through combination and separation. The work was produced as a multi-purpose transformable fashion design that can be used as clothes or a bag.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.353-365
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• 2018

This study is on the usage of bojagi recorded in Yeongjo Jeongsun Wanghu garye dogam uigwe. Major findings are as follows. The eighteenth century marked a period of entrenchment of Neo-Confucianism in the Joseon dynasty and the royal wedding was a tool to propagate Neo-Confucian values to the people. The bojagi used at King Yeongjo and Queen Jeongsun's wedding were made of simple red silk produced domestically to avoid extravagance. Uasge of costly flower-patterned silk from China was restricted to comply with the rules of the Kukhon jeongrye, which codified the royal marriage ceremony and the Sangbang jeongrye, which regulated royal attire. This modesty also shows King Yeongjo's determination to abandon lavishness.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.1-13
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• 2009

The purpose of this study is to examine the types of and figurative characteristics of in women's embroidered handicrafts of Korea. It also aims to revive Korean traditional beauty, to examine the applicability of Korean traditional design that has both modern beauty and practicality, and to develop Korean women's embroidered handicrafts. The types of women's embroidered of Korea include Jumoni (pouches), Bojagi (wrapping cloths), and other accessories made by sewing. Jumoni consisting of 55.51% of them was the most frequently used handicraft followed by Bojagi (8.66%), and other accessories (35.83%). In terms of the patterns used, animal pattern and plant pattern were used the most frequently. In addition, complex patterns using two or three patterns together(70.49) were more frequent than singular patterns (29.53%). Pictorial type of pattern arrangement (58.24%) was used the most frequently and dense type (39.76%) and sparse type (2.00%) were followed. In terms of the materials on which embroidery was used, Dahn (85.82%) was used the most frequently followed by wool (5.67%), cotton (4.26%), silk (3.55%), and Sa (0.70%). Various techniques of stitches were used such as outline stitch (40.56%), satin and running stitch (29.32%), French nut stitch (28.11%), long and short stitch (21.28%), double leaf stitch (20.88%), and so on. Among them, satin stitch (63.05%) was the most popular type of stitch techniques. Strings (23.56%), maedeup (Korean traditional knots, 8.62%), or tassels (9.77%) were also attached for the purpose of both practicality and of decoration. There were some cases that added cloissone or red-pepper shaped decorations.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.