• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.109-123
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• 2004

The purpose of this study is to examine features of parts of Jikryung and relations among the features. Results of the study can be described as follows. 1. The short front and long rear of Jikryung was changed into the long front and long rear of the dress in the late 16th century. Kalgit of quasi-square style as double collar was changed into that of common collar in the late 16th century and then into common semi-circle collar in the early 17th century, when double Sup was also changed Into single Sup. Narrow sleeves of Jikryung were replaced by bean chaff-shaped in the late 16th century and then by wide ones in the early period of the next century. The shape of the side hem of Jikryung was changed from rectangle into trapezoid in the early 17th century Triangle-shaped Moo was changed into trapezoid-shaped one in the late 16th century and then again into triangle in the late 17th century 2. Changes in shapes of the parts of Jikryung were made with them correlated. The collar of Jikryung saw change in its form from double to common as its width was reduced. Double Sup was changed into single one and the narrow, short coat string into the long one as Jikryung became a dress needing less adjustment. The sleeves widened as the length of whajang increased. The side hem of Jikryung saw change in its shape from rectangular to trapezoidal one as its position was changed. Trapezoidal Moo was replaced by triangular one as the sleeve of Jikryung was changed in shape. 3. Changes in shapes of the parts of Jikryung influenced the aesthetic beauty of the dress itself In its first period, Jikryung was simple with long, slim silhouettes. In its second period, the dress was rich with increased volume. Finally in its third period, the dress was characterized by the harmony of simpleness and richness.

• Fashion & Textile Research Journal
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• v.19 no.6
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• pp.804-812
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• 2017

This study builds a database that can be reflected in the production of dress form for fitting by typifying the upper body shape of a senior male. This study analyzed the 3D shape data of 405 persons of the 5th Size Korea. The age range is from 50s 210 persons and 60s 205 persons. Analysis items to identify upper body shape of senior males consisted of 51 items. 3D shape data were also measured using a Geomagic Design ${\times}$ program for the analysis of the upper body of the senior male required for the dress form of this study. The reference point was based on the Size Korea 2010 3D measurement standard and created points (Back-protrusion) on shape data. As a result of the senior men type, the senior men's body type was classified into four types:1. Overall, the upper body is a large body type and the most undistorted overall body type 2. Width / Thickness Flatness is the largest and vertical length factor is the smallest abdominal obesity type 3. Severe flexion of the back part type 4. The upper body is small and the scapular bending is severe. The elderly body type showed a high distribution ratio in the type with severe flexion. The development of a dress form that reflects the cause of the finery issue can improve the fit of ready-to-wear.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.746-762
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• 2016

This study considers expression techniques and aesthetic values in the images of head dress reflected in a natural motif. The conclusions of the study are as follows. The first type is the realistic expression (52.4%) such as the reproduction of a natural object's essential form (27.0%), the partial derivation of the natural object (19.3%), and the planarization for the actual image of the natural object (6.1%). The second type is a metaphorical expression (39.0%) which emphasizes the morphological characteristics of nature (18.2%), the structuration of the natural object's silhouette into a three-dimensional or two-dimensional form (11.5%), and the abstract expression of the form in the natural object (9.3%). The third type is a hybrid expression (8.6%) that is a compromise between practical (or metaphorical expressions) so that expression techniques represent a compromise between the natural object's essential form and abstract expression (4.6%) or the combination of the natural object's silhouette into a three-dimensional or a two-dimensional visualization (4.0%). Aesthetic head dress values reflected in the natural motif first indicate a primitive value. This state of natural instinct recreates the natural object or combines part of the biological elements of the natural object to create an inducement to escape from the practical world. The second is amusement in the expression of animals in dynamic and humorous forms creates an illusion of animals being alive with a representative playful enjoyment. The third is abstraction that grant freedom in the observer's aesthetic rational through a reinterpretation of the fashion designer. The fourth is eclecticism where a compromise represents an act of mixing a variety of independent factors to create harmony with the imagery of nature created through the grafting of diverse expression techniques that break away from stereotypes of existing natural objects to create a type of nature that cultivates new values.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• Journal of the Korean Society of Costume
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• v.19
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• pp.209-240
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• 1992

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume's 'collar' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century's. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women's Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume's outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one's dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

• Journal of the Korean Society of Costume
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• v.12
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• pp.39-54
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• 1988

The purposes of this study were to identify the periodicity of fashion in modern society and to find the correlation between each detail and bustle constitution through the bustle styles that have been recently revived. For the study of periodicity, fashion plates or pictures in Vogue or in the books related Vogue since 1930 were selected, and were analyzed into bell, tubular and bustle silhouettes that were devided by Young (1937). And for the study of the correlation of detail and bustle constitution, fashion plates and pictures that were related to the bustle in the 19th century and the 20th century were selected, and according to the epoch (19C, 20C) and the use (daytime dress or evening dress), each of them was analyzed. The results were as follows: 1. After 1930, $24{\sim}33$ year amplitude was founded at tubular and bell shape, that proved shorter cycles than Young's. 2. In each characters of clothing details, deep decolletage, undivided waistline, spaced bodice in daytime dress were partly identified the characteristics of 20th century costume. 3. The form of bustle was converted from the complex ornament of the 19th century to the simple shape of the 20th century. In other words, it is necessary that the definition of bustle be changed not the previous definition as the silhouette and instrument but that as the emphasis dimension. 4. The dimensions that showed difference at daytime dress and evening dress were 'existence of collar', 'neckline', 'length of sleeve', 'kind of sleeve' for 19th century, and 'neckline', 'length of sleeve', 'kind of sleeve,' 'length of skirt' for 20th century. 5. Correlations with the bustle constitution and details were shown at bodice and waistline with the complex bustle in the 19th century and at collar and neckline with the simple bustle in the 20th century.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.129-142
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• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.2
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• pp.111-121
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• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.