• 복식
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• 제60권4호
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• pp.58-75
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• 2010

The purpose of this study is to investigate the characteristics of fur and leather clothes of minority races of China in Northeas and Inner Mongolia. To examine their characteristics, the clothes and ornaments were classified into four types: headwear, clothes, footwear, and accessories. First, headwear was divided into animal head-shaped, petal-shaped, round-shaped, and cone-shaped head wear. Among them, the animal head-shaped headwear was made by making the best use of the shape of animal's head and it was used as the best disguising method when hunting. Second, clothes were composed of upper garments and lower garments. For the upper garments, Po and Jeogori were worn and pants were worn for the lower garments. The clothes were decorated with lining, applique, or top-stitching on the outer collar, neck circumference, and the edge of sleeves and pants. Third, for the footwear, high boots of leather were developed to meet the needs for a convenient life in the plains. In some areas, fur shoes and leather shoes were also used. Finally, accessories included bags and gloves. Bags were usually decorated with fur on the outside or with a fringe or applique of tanned leather. Gloves were lavishly decorated with embroideries and partly with fur or leather.

• 복식
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• 제58권8호
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• pp.63-73
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• 2008

From the ancient Korea to the late Joseon Korean fur and leather had been preferred in and out of Korea for their good quality and excellent manufacturing skill. Since Unified Silla (A.D.676${\sim}$A.D.936) Korean fur and leather were manufactured divisionally by workmen specialized in materials and products, and such manufacturing process was succeeded to Goryeo and Joseon. Manufacturing of fur and leather was consisted of as follows: hunting and butchering - peeling - beating with a paddle and removing fat - oil manufacturing - drying - tanning, then cutting and sewing, and there was a special caring method. In order to make good fur and leather, each process of manufacturing needed particular techniques and all available methods were tried to have tender fur and leather by using smoking, excrement, lime, vegetable tannin and even cerebral liquid. And also required mouth-chewing and hand-pounding with a lot of time and of labor Keeping furs resilience and flexibility, sowing several skins together, even when the after-all-process skin was converted into clothes, was much more difficult than sewing fabric. Thus, the manufacturing cost was as much expensive as skin materials, and the volume of manufacturing of fur and leather was also limited. Therefore, fur and leather must have been popular for scarcity value in the manufacturing process, and this scarcity must have caused an extreme luxury of fur.

• 복식
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• 제58권9호
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• pp.114-128
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• 2008

The current study aims to classify types of traditional fur Garments in Jeju into Dusik(hat), dress, Jokui(socks) and accessaries, and examine characteristics of them through demonstrative study focusing on collections of museums in Jeju. Dusik is a kind of hat for protection against the cold, and there are badger leather Gamtaes and cow hair Beonggeojis(fur hats). Especially leather gamtae was used to protect against the cold when people hunted roe deers in Mt. Halla. Beonggeoji was producted in the form of felt with fine hair collected coat-shedding of cows and dogs in spring, therefore it was too warm and practical to be damaged from storm or pressure. Fur coat is a general name of dress made of leather without hair. It is a kind of clothes with a hat worn while taking care of horses and cows. Also people wore dog leather topcoats and cow leather topcoats when they hunted in Mt. Halla. As for Jokui, there are leather Beoseon(socks) made of cow leather, leather shoes in the form of straw shoes, and leather Balle embracing the low half of the body warmly. Accessaries include a rectangular cow leather bag for storing an iron piece for making fire. These traditional fur robs in Jeju not only have practicality for protection against the cold, but also symbolized richness by using leathers of badgers, roe deers, etc. that were previous during that times. Also they used partially cut leather for decoration at the edge.

• 복식
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• 제38권
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• pp.245-260
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• 1998

Our country's fur clothing industry has rapidly grown for a short time since it started with simple needlework of fur pieces, and now it is still developing as export industry that some enterprises besides general business firm export more than ten million dollars a year. However, it is true that fur clothing industry is still in unsatisfactory level in its size and system, compared with manufacturing or leather industry. Of course, we import crude material and processed fur on an entire base, and we have few wild fur on an entire base, and we have few wild fur animals because of our natural condition and it is hard to breed them. On the other hand, the world's fur industry shows that the demand of fur clothes is increasing as fur animal breeding is improved and developed and supply has become rather abundant with the help of fur clothing fashion since late 19th century : Also, there is a trend that some developed countries depend on importing rather than self-prodoction because of the character-istic of labor-concetntraled fur industry. Accordingly, considering this situation, we can expect fur clothing industry as promising export industry by analyzing the present situation of our country's fur clothing industry and suggesting its problems and solutions, and here are developing plans for growing fur clothing industry as promising export industry. First, smoothing delivery of crude material. Second, making high quality products and diversifying goods. Third, establishing effective competition system in fur clothing industry. Fourth, raising skilled man power. Lastly, there should be coopetation among the related fields in the aspect of policy including the support from the government.

• 복식
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• 제63권3호
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• pp.1-16
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• 2013

Xiognu people were the first of the Central-Asian nomads to establish a nation in 209 B.C. They always moved around looking for places to breed their animals and fertile grounds, so they wore clothes made of fur and leather and covered their tents with felt from the livestock. This research studies on the literatures, costumes and the achievement of archaeological excavation. Furthermore, to investigate on costumes excavated of Xiongnu, we visited the Mongolian National Museum and the Hermitage Museum. A corn-hat made of felt, a felt hat with ear flaps and a golden crown with a bird on the top were unearthed from a tomb of Xiongnu in Inner mongolia. Women usually wore pigtails, and men wore pigtails or ponytails but they cut their hair short when holding a funeral. Many pigtails discovered in Noyon uul tombs can be considered as their funeral customs. The Xiongnu wore a round or v-neck caftan attached straight sleeves reaching knees in the left folded style, and because they always rode horses, having the length of the caftan not go past their buttocks would have made it more convenient for them. During the period of Western Han, Ho refered to Xiongnu and it became a common name for northern races. They used leather belts and an animal-designed buckle was found. Women commonly rouged their cheeks for a vivid and cute look, and many ornaments were excavated including bracelets, rings and decorations made of gold, silver, copper and jade, among which there were hair ornaments used to identify one's class. A horse pattern with wings and a horn of Golmod T20 was substitution for the Schythian use of deer. Patterns or shape of unearthed articles present in the Xiongnu culture in Noyon uul had a close relationship with Altaic, Greek and Persian cultures. The Xiongnu clothing was made of animals' skin and fur, woolen textiles and felt. It was folded to the left for upper garments, and the pants were adjusted using a belt and shoes were made of leather, which was very suitable for protection against the cold and horse riding. Mobility played a significant role in their clothing.

• 복식
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• 제57권3호
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• 한국의류학회지
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• 제38권6호
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• pp.942-952
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• 2014

Winter outerwear includes various clothes such as classical jackets/coats, padded jackets/coats, wind breakers, leather and fur jackets/coats. This research surveyed care-label instructions attached to 100 jackets/coats dropped off at five drycleaners in the Gyungin area. University students' perception and attitudes towards care labels and management of winter outerwear were examined using a questionnaire. Data collected from 230 respondents were analyzed by frequency analyses, t-tests, ANOVAs and Duncan tests with PASW 20.0. Half of the padding jackets/coats were labelled to be dry cleaned and dry cleaning was more excessively labelled than necessary. University students confirmed more care symbols than fiber compositions such as more at time of cleaning than at purchasing. Clothing-related major students understood care label symbols better than non-clothing major students. Consumers laundered some winter outerwear at home, even though they thought dry cleaning was a proper cleaning method. The appropriate cleaning method for padded jackets/coats is laundering; however, consumers who answered dry cleaning as an appropriate method were three times as those who answered washing, and those performed dry cleaning were two times as those who performed washing. Winter outerwear manufacturers should provide adequate and more specified care-information to consumers in order to maintain initial appearance and performance over longer periods.

• 패션비즈니스
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• 제6권1호
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• pp.116-127
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• 2002

The hip-hop fashion of the nineteens is just as important in hip-hop as in rapping, breaking, or graffitiwriting to young people. Hip-hop fashions major influences range from martial-arts moves, to street-gang uniforms and paraphernalia. Hip-hop fashion grew and evolved with the subculture. The identification with street-gang culture is important to hip-hop in general and still set the pace for hip-hop fashion. There are things that are necessary fashion components for each segment of hip-hop life. So even prisons are now selling prison clothes. Explaining the look, The rawest street element is a jail element, so the strongest statement is a uniform with shirts and trousers that match perfectly, like a jail piece. Insiders can detect the away of gang and prison culture on the iconography of seemingly innocuous brands. Hip-hop glam is part of an evolution of hip-hop style. Rap's gone luxe, and it is women who are leading the high-fashion charge. They wear in diamonds and fur. Now it is a very glam. Now, many brands are upping their marketing activities through a focus on their women's lines in advertising, and featuring hot celebrities. There is also a lot of rethinking of looks going on. Sexy and tight is emerging as the style of choice in this market and fabrications are becoming more important, as designers refine and upgrade their women's line. The clothes of hip-hop glam were the ordinary with the extraordinary: Designer fur and leather with athletic team jerseys, Nike sneakers, diamond bracelets and mall brands like Guess and Fubu. The hip-hop musician's sporty hip-hop looks has amply young people. The hip-hop looks of baggy jeans, oversized shirts and rugged outerwear have become a part of mainstream fashion. Hip-hop fashion has the characteristics of being sporty. In the 90s, Military look has got one of the fashionable hip-hop fashion style. It does not have inner symbolic meaning or ideology but it only represents a fashion trend and revival fashion. Not only fashion designer but also hip-hop musician selected the trend for hip-hop fashion style.

• 한국의상디자인학회지
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• 제8권3호
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• pp.59-71
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• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• 복식문화연구
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• 제31권6호
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.