• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.124-140
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• 2023

This study analyzes traditional women's Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the "moment" theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

• Korean Journal of Oriental Medicine
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• v.18 no.3
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• pp.31-38
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• 2012

Jo Taek-seung(曺澤承, 1841-1907), who devoted himself to medical science mostly living in Haenam, and his son Jo Byeong-hu(曺秉侯, 1869-?) are significant in the history of Korean oriental medicine. The medical science of Jo Taek-seung appointed as Jusa(主事) of Hyeminwon(惠民院) in 1902 was handed down to his only son Jo Byeong-hu, who succeeded to his father's medicine and polished up the medicine, and recorded the results "Sanghangyeongheombangyochwal(傷寒經驗方要撮)" in 1933. Jo Taek-seung's portrait has been handed down to Jo Taek-seung's descendents' house in Munane-ri, Haeman. Not only does Jo Taek-seung's portraits well present the features of portrait mode of Joseon Dynasty period in the 19th century in their front view, exposure of two hands, expressive mode, background articles, etc, but also praises, poems, etc. giving information on manufacture intent, etc. to give prominence to the authors recorded by Jo Taek-seung, time of manufacture and position of medical official appears in one screen. In this paper, through disaster-removing poetic sentence showed in Jo Taek-seun'sg portraits, it was found that the author of the portrait is Choi Byeong-uk who worked mostly staying in Seoul and the present portrait was the one re-painted in 1907 by revising the portrait painted in 1894 when Jo Taek-seung was 54 years old, after Jo Taek-seung died. With regard to revised portion, presuming through records on the picture and comparative analysis of mode with portraits of doctors in the 20th century, it seems that the clothing of Confucian scholars in the first version was revised into the clothing of medical officials showing the position of Jo Taek-seung who took office as Jusa of Hyeminwon at the time of re-painting the portrait. Jo Taek-seung's portrait not only becomes important materials in the oriental medicine and historical world in the aspect of manufacture process, mode, etc. of Korean portraits including an aspect of medical official's portraits, but has significant meaning from the aspect of fine art history or clothing history.

• Journal of the Korean Society of Costume
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• v.44
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• pp.5-17
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• 1999

This paper studies women's clothing and textiles recorded in the『the Odes』, and refers research materials on the old commentaries about the『the Odes』and the various kinds of records and remains. The results regarding women's clothing in『the Odes』are follow: 1. Ti-i, Chin-i are the women's ceremonial dresses. Ti-i is a kind of the court dress and the shape is a long dress embroidered with pheasant. Chan-i belongs to the lower grade compared with the six ritual dresses worn by the queen and is made of Hu that is a kind of the white soft-wrinkled fabrics. 2. A women's I-Shang is composed of a blouse and a skirt. It is the classic style before the Sh n-I appears in China. Also we find that they use the standard colours for a blouse and the intermediate colours for a skirt in Chou period. 3. Chiung-I, Chiung-Shang and Hsieh-Pen are a kind of the robe put over the former garment made of Chin not to display to elegance. 4. Fu, Ch n-Fa, Pei and T'i are a kind of women's wig. Ti and the six-Chia are women's hair ornaments. Ch'i-Chin and Ju-L are a kind of the working women's turbun. 5. The women's belt ornaments are classified into the practical things and the decorational things like those for men. The results regarding fabrics in the『the Odes』are as follow: 1. The silk fabrics; There are Chin, Hu, Chou, Tz , Su, Hsiu. 2. The woolen fabrics; There is Ho. 3. The linen fabrics; There are the hemp and the ramie in the remains of Chou period. Also there are Ch'ih and Hsi categorized in Ko fabrics.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.3 s.31
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• pp.242-251
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• 1989

The purpose of this study was to investigate the changes in easy-care and strength properties of the wet fixation processed viscose rayon fabrics. Rayon fabrics were treated with mixed resins of melamine formaldehyde (MF) and DMDHEU by one bath and two bath wet fixation processes. The MF/DMDHEU mixed resin concentrations were 50/100, 50/150, 100/100, 100/150 and 150/100(g/1). Magnasium chloride was used as a catalyst. Treated fabrics were evaluated by nitrogen content, DP rating, wrinkle recovery angle, breaking strength, tearing strength and abrasion resistance. The properties were compared to the fabrics treated by conventional Pad-Dry-Cure (PDC) method. Wet fixation processed fabrics showed DP ratings of higher than 3 and higher than 275 degrees of wrinkle recovery angles in all the mixed resin concentrations. Wet fixation processed fabrics showed increase in breaking strength and tearing strength but decrease in abrasion resistance. However, the decrease in abrasion resistance was much less than the conventional PDC treated fabrics. The one bath wet fixation processed fabrics showed better physical properties than the two bath processed fabrics in general. The optimum treatment condition was the mixed resin concentration of MF/DMDHEU, 100/100 g/l in one bath wet fixation process.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.1 s.29
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• pp.35-42
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• 1989

The purpose of this study is to assort Sim-Eui form in Chosun Dynasty Period, so that we considered pictures of Sim-Eui in literature, portraits, and Sim-Eui. The results obtained are as follows; 1. Considering that United Sinla Period was related deeply to Tang Period, it is assumed that Sim-Eui was already transmitted in United Sinla Period. 2. Sim-Eui form was assorted roughly into two group, Straight line collar Sim-Eui (Gik-Ryeong Sim-Eui) and Sguare collar Sim-Eui (Bang-Ryeong Sim-Eui). The former was made to closs collars but not similar to carpenters sguare (Gop-Ja). The latter was made by Bek Gyum-Han at the begining, by the way it was not used widely. Then again Chun-Hu made the Sguare collar Sim-Eui in 19 c, it was used widely with Straight line collar Sim-Eui. 3. Sim-Eui in $\ulcorner$Ga-Rye-Bu-Chuei$\lrcorner$ was similar to those days Chullick, that verifies the Sim-Eui's influence on Chullick. 4. There was new simple Sim-Eui in $\ulcorner$Sa-Rye-Jip-Yo$\lrcorner$, it was similar to large sleeve's Durumagi, Heng-Eui. 5. Sim-Eui was sustituted by Gik-Ryeong Eui, Dap-Ho, Dan-Ryeong, Do-Po, Heng-Eui.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.106-122
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• 2014

This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties' official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check, Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men's hair style as Choo-gyul (椎結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (wear women's hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.1
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• pp.228-238
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• 1996

The purpose of this study was to evaluate the effect of chacteristics of knit fabrics on the microclimate of the skin simulating system. To determine the effect of characteristics of knit fabrics, vapor state of sweat pulse was simulated in the closed system. Different contents of fibers such as cotton, wool and polyester with different yarn size and knit types were chosen for specimens. The changes of humidity and temperature of air layer in the simulated systems were measured. Buffering indices, $K_d$ and $\beta_r$, were determined by considering $\alpha_p, \DeltaP_{max}, t_{max}, and tan\beta$. Physical properties of knit fabrics such as thickness, porosity, air resistance and moisture vapor transport were measured. Results showed that vapor pressure of wool was lower than cotton or polyester This was attributed to the hydrophilicity of wool which absorbed moisture rather quickly and retained in the knit fabric. The time to decrease vapor pressure was faster for polyester than cotton or wool. As a result, $K_d$ was in the order of wool> polye, item> cotton. $\beta_r$ of wool was rower than cotton or polyester due to its lowers porosity and slower desorption rate. For the yarn size, $K_d$ was in the order of 80's> 60's> 30's; thinner and lighter yarn showed better water vapor transport property. For knit type, buffering capacity of single jersey was better than interlock knit fabric. Statistical analysis showed that the air permeability was the most influential factor far the water vapor transport properties.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.4
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• pp.357-369
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• 1989

The purpose of this study was to investigate the effects of treatment temperature and time on the, of easy-care and strength properties of the wet fixation processed rayon fabrics. Viscose rayon fabrics were treated with mixed resins of melamine formaldehyde (MF) and DMDHEU by one bath and two bath wet fixation processes. The MF/DMDHEU mixed resin concentrations were 50/100, 50/150, 100/100 and 100/150(g/1). Magnasium chloride was used as a catalyst. The wet fixation conditions were 24hrs at room temperature,20 mins at $75^{\circ}C$ and 5 mins at $105^{\circ}C$ Wet fixation processed fabrics did not show the difference in the resin add-one, DP ratings and wrinkle recovery angles by the different treatment temperatures and times. DP ratings were in the order of $105^{\circ}C>75^{\circ}C>room$ temp, in one bath and two bath wet fixation. Breaking and tearing strength of one bath processed fabrics showed in the order of $75^{\circ}C>room\;temp>105^{\circ}C$ The breaking strength of two bath processed fabrics showed in the order of $105^{\circ}C>75^{\circ}C>room$ temp. Tearing strength showed in the order of $75^{\circ}c>105^{\circ}C>room$ temp. Abrasion resistances were in the order of $75^{\circ}C>105^{\circ}C>room$ temp. in one bath and two bath processes.

• Korean Journal of Human Ecology
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• v.15 no.4
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• pp.573-583
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• 2006

Hair styles for human being develope according to the natural environment. Chinese hair styles have been changed from tousled hair to pigtailed hair, later additional style of shaved hair, became pigtailed. Each hair style for people, however, is based on each people's culture and history. Thus, the same changed had not been applied to each culture simultaneously. Hairstyle for Yao(遼) Jin(金) Yuan(元) that is a representation of ancient northern tribe, is summarized as follow; Tung Hu'(東胡)s inferior, Khitai(契丹)'s hair style is tousled hair and Sushen(肅愼),'s inferior, Jurchen(女眞) has partial shave and left 2 strand of pigtail. Hun'(匈奴)s inferior, Mongol(蒙古) has hair in top and shaved head except both sides and rear. One style is circular shape of braided hair at both sides. The other is one strand pigtail at the rear head, which is the original shape for Man'(滿) pigtail later.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.576-595
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• 2024

Bracelets have enjoyed extensive use among the Chinese since antiquity as decorative pieces credited with warding off evil forces and inviting auspicious fortune. This study aims to integrate traditional cultural elements, such as Yuan blue and white porcelain flower patterns, into modern design using 3D printing technology to create culturally inspired bracelets. To this end, bracelet designs from the top four museums on Taobao were examined. In addition, we analyzed online reviews of culturally themed bracelets using text mining and applying FEA criteria and found that Chinese consumers are easy to wear and sizable, enhance cultural pride, and drive the demand for artistically sophisticated bracelets. The research culminates in the development of a modular bracelet design inspired by flower motifs from blue and white ware of the Yuan dynasty, with an emphasis on iterative improvements based on reviewer feedback. The final design meets consumers' expressive and aesthetic needs while also maintaining cultural integrity and functionality. The aim of the study is to inspire pride in traditional culture, provide insights for fashion accessory industries, and promote the national image through the development of culturally inspired products.