• 한국패션뷰티학회지
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• 제5권1호
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• pp.78-86
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• 2007

One of the latest social trends is to reappear old things under the banner of the revival. It is easily found in the fashion industry because Fashion is not divided into the past, the present and the future thing but coexisting through all ages. The purpose of this study was to pursue the healthy and characteristic beauty of the modem people by understanding the beauty culture of the ancient. The Middle ages were mainly classified into Byzantine, Romanesque and Gothic by historical and cultural factors. In the Byzantine age, the clothing with rich silhouette was worn by the influence of the abstemious religion and it didn't express a specific proportion of human body. The people covered their hair with turbans and veils for the period. The Romanesque era was affected by the religious idealism and the Greek-Roman culture. The ideal proportion of human body could be 8 heads high and the clothes expressing natural silhouette of human body came out. Depending on the feel of the flowing texture, long-braided hair was typical in that time, and also wearing kinds of head dress as personal ornaments was characteristic in the age. In the period of Gothic, the long and weak human body was emphasized. The ideal proportion of human body could be figured with 8.5 heads high and it was expressed with the form of artificial and vertical silhouette such like tight-fitting upper garments, gathered skirts and long hats.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.141-149
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• 2010

This thesis is designed to take a close look into the characteristics of architectural space through the standard of beauty, which has been created apart from our desires at certain cultural or historical periods of time. It will try to construct the outline of conception about the beauty throughout many centuries. First of all, contents of the research will focus on the aspects, which people have been considering as beauty eversince the ancient time without having any assumptions on its concept. For example, if the beauty of art has been accepted by the theories of modern aesthetics while degrading the beauty of nature, its value could have possibly been much more appreciated. The standard of beauty has been going through the process of change in such history of mankind. The general standard of beauty, which was established in the ancient time was the proportion and harmony between many elements. Afterwards, beauty was expressed as colors and light in medieval times. Expression of beauty using ugly features such as monsters or demons also existed at the time. Beauty has been periodically developing from supernatural to gracious, rational, noble, romantic, religious, mechanical, and today's media. The concept of beauty established from the above has been appearing throughout various culture such as dress and decoration at the given period of time. It would later affect the formation of space as well as decoration for architectures and styles. It will be analyzed throughout the five design elements; style, composition, materials, components, and form. The thesis would like to find the spatial order of beauty from the result of the analysis. The analysis will examine the possibility for which the recomposition of beauty will be provided as a design process for the new era. The Greek beauty represents a shape. The shape represents proportion and the proportion represents given numbers. However, beauty is being expressed by the opposite process at the present time. In other words, computers will arrange the numbers, which would formalize the proportion between the numbers. Beauty would be presented when the shape is presented as certain forms.

• 한국의류산업학회지
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• 제19권5호
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• pp.589-594
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• 2017

The purpose of this study is to provide basic data for design and pattern development research in the modernization of Cheollik by comparing and analyzing the interrelationships between the components of the Cheollik. The 237 pieces of excavated costume Cheollik in the museums were surveyed. The size of the Cheollik components were examined by 100 year unit from 1400s to after 1800s. In the 1400s, the length of Cheollik was the shortest and the length of top was longer than the bottom. In the 1700s, the total length was the longest and the bottom was longer than the top. As the age increases, the total length and the bottom become longer and the length of the top becomes shorter. Poom and Gutseop were the largest in the 1400s and the smallest the after 1800s. As the age of the Poom and Gutseop decreased, the width of the Anseop increased. Gutseop was always present but Anseop was not always present in Cheollik components. As the ages passed, Jindong and Soogu became narrower and Baerae became wider. These change of Cheollik's sleeves form were affected by GongBok(so-called official wear) sleeves. By age, Cheollik did not show any big change in the basic shape, but the partial dimensions of the components showed changes. If the design and pattern research for modernization is done based on systematic establishment of pattern dimension of Cheollik, Cheollik dress combines practicality while preserving beauty and tradition at the same time.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• International Journal of Human Ecology
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• 제7권1호
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• pp.37-52
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• 2006

This study was designed to analyze the three-dimensional shapes of Hanbok Chima made with various fabrics and to clarify the relationship between fabric properties as well as the objective and subjective evaluations of the 3D shape. For 3D shape data, a dress form (9A2 (N; nude)) was scanned with eight Chima garments made with the same number of fabrics. The scanner used was a non-contact three-dimensional human body measuring system belonging to Bunka Women's University in Japan. Data concerning the objective evaluation of the 3D shape was obtained from the measurements of the vertical and horizontal sections: those for subjective evaluation were through the sensory test after exposure to photographs from a front and side view. Four fabric factors were extracted from fabric physical properties: softness, extension, thickness of threads, and weight of fabric. Such factors as expansion (volume), sag of rear train, shape of nodes were influential in explaining the 3D shape of Hanbok Chima. From the analysis of the 3D shape, it can be deduced that with the constituent fabric stiffer, lighter, and less stretchable, the more expanded the 3D shape appeared to be. Multiple regression results showed that vertical shape factors have a greater effect on the evaluation of the 3D shape. It also implies that dependent variables of this study such as the subjective evaluation and 3D shape can be derived from regression equations on independent variables as fabric property factors or 3D shape factors. These results can enable the manufacturers to predict the 3D shape of the garment as well as the human subjective assessment to improve the efficacy of production. The investigation method proposed in this study can also be applicable to other garment items.

• 한국의상디자인학회지
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• 제6권3호
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• pp.169-183
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• 2004

This study attempts to understand women's underwear culture in the Later Chosun Dynasty, by investigating the kinds and constructions of them, which formed bulky and puffed silhouette of the lower half of the body. In the middle 17th century in Chosun, Confucianism settled down as fundamental idea of society, while whole country achieved considerable economic growth. As a result for upperclass women, female virtues was demanded more than any other period in Chosun. On the other hand, lower-class women including Kisaengs, had more freedom on their clothing behaviors. According to the literature on women's dress institutions and restrictions of the extravagance, the use of kinds of high-quality silk and false hair was criticized, compared to women's clothes in China. From this, one can see the luxury and affluence of women's clothes at that time, which also reflected in luxurious underclothes. Also, the movement of class, by economic development, led to changes in the costumes of middle-to-lower class women, relaxing restrictions on clothes. Underclothes included Bosomband(가슴띠; long sashes for bosom to wrap), Sokjucksam(속적삼), and Sokchogori(속저고리; Korean blouse, worn under the chogori) for upper garment, and Darisokkok(다리속곳; basic underwear like the panty), Soksokkot(속속곳; underwear paji to be wide of hem), Sokpaji(속바지;trouser front and back opening), Tansokkok(단속곳; large size underwear like Soksokkot), Noronpaji(너른바지; paji like the skirt or paji bulky than tansokkot,), Mujigi무지기; tiered skirt for underwear), and Daeshumchi'ma(대슘치마; Korean underskirt, shape hem as a pad into form) for lower clothes.

• 복식
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• 제60권6호
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• pp.1-10
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• 2010

The cultures and traditions of Asia has the roots so deep and it is the origin of inspiration. Therefore, it is easy to find a different inspiration when designing, expecially for Western designers who are seeking European tradition and its comparison. The most distinctive feature of the Asian look is non-structural and has no clear form close to the structure of the body or mathematical ratio, but is steric with 2-Dimensional planed textiles, and has a flexible, non-structural formative characteristic related to the movable body. This is base on the vision of the universe that regards the parts as the whole. From this research, generally studying about the Asian look and its non-structural formative characteristics. The study looked closely into the aesthetic value of non-structural formative characteristics formation, with basis on the large dress regulation system of the western reasoning and rationalism and mechanism. At first, my study pointed on the dressing functionalism or Neo-classism considering emotions, Anti-Western aspect observing surrealism dressing and expressionism dressing. Second, with men and women showing similar outer shape without the equivalent element such from wearing a corset, the sexism is abolished. Finally, the designers’ inner intention of art is being delivered, from the aspect that the expression of art, size and no waste of fabric shows effort of communicating with the world, giving value to the possibility of continuance.

• 복식
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• 제64권6호
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• pp.91-101
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• 2014

String, as clothing material, has played a functional, symbolic and decorative role in garment traditionally. The string has a shape of continuous line, which is one of the basic elements for the design: points, lines and sides. It can effectively represent the silhouette by making our vision flow to a certain direction. This study reinterprets the traditional form of string in a new modern way by developing "Tube-Shaped String" which has an empty hole in the middle. As a creative attempt, the new tube-shaped string can be used for fashion design by applying it to unique shapes, colors, textures, and draping expressions. In a role dimension, this string can become the main fabric material. The methods of the study are as follows. First, it examines the traditional shape and role of string in the history of garment. Second, it studies modern designers, such as Christian Dior, Ann Demeulemeester, Dolce & Gabbana, and 3.1 Phillip Lim, who have applied the string to their design, and have explored the various potentials of the string in the past four years. Finally, based on the theoretical research and practical analysis, this study creates a new tube-shaped string, applying its own technique to fabricating three garments: jacket, dress, and body suit. As a result, each garment shows unique silhouettes, rich texture and color, and rhythmical movement. The unique silhouettes reflect the shape and movement of different bodies. The texture and color are created through the shades of the string which come from the overlapping strips. The garments come with an unbeatable aesthetic design compared to conventional uniform design. As a new material in clothing, this tube-shaped string can be developed to satisfy the public, which has widely varying tastes in fashion.

• 복식
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• 제63권7호
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• pp.31-48
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• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.