• Conservation and Restoration of Cultural Heritage
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• v.1 no.1
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• pp.23-27
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• 2012

Bletilla striata is an important herb that is used as a paste for texture processing, an ingredient in incense and an additive for preserving calligraphic works and paintings. This study evaluated Bletilla striata, which has been used to preserve and manage the textiles and paper. In particular, this study examined the viscosity of a paste made from Bletilla striata, as well as the mechanical characteristics and antibiotic properties of the fabrics treated with the herb. In terms of viscosity, Bletilla striata paste was less sticky than wheat flour paste, meaning that the former can be applied more evenly to sized fabrics. In addition, Bletilla striata paste has high transparence, ensuring little color difference between the fabrics treated and not treated with the paste. Regarding the mechanical characteristics of the fabrics processed using the KES-FB System, the sized fabrics treated with Bletilla striata paste showed a higher flexibility and recovery rate and than those treated with the wheat flour paste, indicating that the former paste can be more effective in making fabrics maintain their original form and shape. Finally, silk fabrics treated with Bletilla striata showed very high antibiosis. This suggests that the paste can be used to develop antibiotic substances that can preserve textiles.

• Journal of the Korean Society of Costume
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• v.17
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• pp.83-91
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• 1991

I observed the meaning and the symbolic charaeters about the color and style of clothes appearing at "GER GA JAP BOK GO" written by Kyu Soo Park. The black color of Hyun Eui as a ceremonial dress of man symbolizes Heaven and Virtue. The yellow color of Whang Sang as a ceremonial dress of man symbolizes the Earth and the Impartiality. The blue or black decoration line over white ground of Sim Eui as ordinary dress of man symbolizes also Filial Piety. In woman ordinary upper garment, So Eui, black texture edging with blue line implies the mutual symmetricity with her husband's. Besides, white color texture lining So Eui symbolical to a Devine Nature and Homage implies also the deep concealment of feminine body. The black ground color of child dress "Chi Po Eui" symbolizes Naivety, and the red silk color of it's decoration line, belt and tress ornaments implies the praise of the Virtue & Learning and also "Expel the Evil" of our traditional national characteristics. As described above the meaning and symbolic characters about the color and style of clothes appearing at "GER GA JAP BOK GO" has a very Chinese disposition, but it's author Kyu Soo Park modified somewhat to be in harmony with the real social situation of our Country during that latest stage of Yi Dynasty, because he was one of the prominent pragmatist at that time.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.135-143
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• 2006

The definition of the 'Pocket', according to the Korean encyclopedia, is an accessory that a person puts in small belongings or money and carry on waist or holds with a hand. Since the pockets were not attached to the clothes at that period of time, the portable bag or pocket had been used without distinction of age or sex for carrying personal belongings. The pocket in France was also used in a similar manner, where it was used as a handbag to carry purse, comb, or a key by women during the middle ages. The pockets were decorated, made of quality material such as velvet, silk, or satin with splendid embroidery or beads. This study closely examines the history of the pocket from late 16th century around Renaissance to early 20th century in France and during the mid Cho-Sun dynasty in Korea and compares the different kinds of patterns, symbolism, and the purpose of the pockets. In addition, the relationships between the pockets, belongings, and ornament are examined as well by thoroughly investigating the unique characteristics of the pocket of each country.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.109-114
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• 2004

The purpose of this study lies in analyzing the characteristics of the carbonized textile fabrics and to know the carbonizing mechanism. Samples were Jiyo excavated from the grave of Mrs. Hansan Lee as the wife of Jinju Kang at Daeduk-gu, Daejon, and black fragements assumed as of the outside material of cotton skirt and black dusts collected out of Jikryung for official dress. The composition and status of the fiber were clarified by means of Microscopic FT-IR and both cross sectioanl and side parts of the fiber were observed using the technique of scanning electron microscopy(SEM). Finally EDS analysis was carried out to qualitatively analyze inorganic ingredients contained in the carbonized fiber. As a result of FT-IR measurement, characteristic peak was very strong around $1625cm^{-1}$ and could be found even between 2500 and $2300cm^{-1}$ because of a high-molecule pigmental substance, melanine. When SEM photography was applied to the fractions, the tissues were identified as silk fiborine through the observation of their side and cross sectional parts. SEM-EDS measurement indicated that both the cotton skirt and Jikryung for official dress contained a high proportion of inorganic substances such as Si, Ca suggesting the existence of silicide and calcium carbonate.

• The Korean Fashion and Textile Research Journal
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• v.23 no.2
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• pp.151-158
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• 2021

The purpose of this study was to develop high-quality naturally dyed leisurewear with images of traditional Korean clothing that keeps a psychologically comfortable and physically pleasant environment at home and in vacation spots. The root bark of elm trees, the atopic skin, is also known to be effective for the relief of rhinitis and atopic diseases as well as stress and insomnia. However, there is insufficient color in the bark for the dyeing of fashion products, so to compensate for the lack of color, for dyeing purposes it was combined with a composite extract called Rubia akane Nakai resulting in a relatively bright red color. Except for the light fastness, all the fastnesses were rated 4 to 5, showing excellent results. Through complex dyeing using elm bark and pods extract the author produced four high-quality vests, one-piece, a gown, and jeogori-pantsuits of silk materials with Korean images that are suitable wear for relaxing comfortably at home and during breaks and which provide a comfortable and physically pleasant experience. The vest was made with the formal style of Bae-ja and Dang-eu, the dress is made of Cheok-lik, and the gown is made of Wonsam. It will be meaningful at a time when the importance of rest is increasing due to the healing clothes worn by busy modern people.

• 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.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.729-742
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• 2005

This paper studied the ban on 'Po[포]', including hemp and ramie, on the basis of Joseon Wangcho Silok (the True Record of Joseon Dynasty). Po is the important point which can help to understand the people's life related with clothing. This paper showed that in the early years of the Joseon Dynasty, the state had forced kinds of bans on some fabrics many times. Among the bans of the fabrics-making the main part was the bans on Po, along with rice, used as money in those days. The state had on Po enacted on the policy to intend to promote paper money circulation more widely. However, people didn't want to use paper money. The reason why cloth could be practical and functional as a kind of currency was that people could make clothes with it at any time while they used it as money. People avoided using paper money that could not be used in that way, and so did public officials. At that time, Po that was generally used as money was the hemp of five warp threads. The measurement of the hemp in 7chi[촌; a Korean inch] by 35chok[척] and 32cm by 16m by modern metric. It also showed that it has been thought that the blended fabrics are the fabrics that were made of raw silk-threads and cotton threads as warp and weft respectively. However, the fact that there is a record of 'Jeo Ma Gyo Jik Po[저마교직포의]'(blended fabrics and clothes made of ramie and hemp) and there appear the new proofs of the fieldwork investigation shows that the concept of blended fabrics might be various or changeable as time passed.

• The Research Journal of the Costume Culture
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• v.32 no.1
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• pp.70-85
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• 2024

This study aimed to examine the recent Hanbok school uniform design directions to contribute to the distribution of Hanbok school uniforms and the accumulation of Hanbok-inspired fashion design sources. We reviewed 16 academic papers published on Hanbok school uniform designs from 1998 to 2023 and summarized the design features proposed therein. We also analyzed 172 items of Hanbok school uniform designs developed under the Hanbok school uniform promotion project hosted by the Hanbok Advancement Center between 2019 and 2022. We found that the recent Hanbok school uniform design characteristics conformed to the design directions proposed in previous studies in terms of line, color, fabric, and textile pattern. Conforming design characteristics include the following. Overall, silhouettes were straight and moderately fitting to the body. Detailed straight and curved lines from Hanbok were applied. Designs showed traditional Hanbok colors, including white, black, and navy. Machine washable cotton and various blended fabrics were used. Modernized traditional patterns such as Saekdong, cloud, and Gwae were applied to textile designs. In contrast, some characteristics of recent designs deviated from the proposed design directions. Barrel silhouettes were found in casual styles of uniform items, including sweatshirts, hoodies, and jumpers. A wider range of materials, including fleece, quilted fabric, brocade, and Jinju silk, were used. Uniforms had looser silhouettes and were made with modern washable materials to meet students' preference for casual uniforms.

• The Korean Fashion and Textile Research Journal
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• v.8 no.2
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.607-620
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• 2020

The aim of this study is to define the new expressive techniques for multicolored clamp resist (hyuphill) dyeing, based on empirical verification on relics that are estimated to be dyed by the exchange of more than two wood blocks: a previously undiscovered technique. Clamp resist dyeing (assumed to be made by exchanging wood blocks) have uneven resist printing lines or cloudy gradation. These are reproduced as follows: first, they have uneven contour lines, particularly with the color blue. It is possible to exchange wood blocks separately on patterns with uneven resist printing lines, and it has been verified that the exchange of wood blocks makes these irregular resist printing lines. It has also been verified that exchanging the wood blocks according to the gradation (to emphasize the cubic effect on the patterns) yields clamp resist dyeing with no resist printing lines but with cloudy gradations that have accented borders. This study provides basic information that enables methods of multicolored clamp resist dyeing through wood block exchange to be deduced (something that has not been attempted for a long time). Thus, the revival of the modern Korean dyeing culture based on the conservation and perseverance of the traditional dyeing techniques can be achieved.