• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.149-162
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• 2008

The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.

• Journal of the Korean housing association
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• v.16 no.6
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• pp.21-27
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• 2005

The purpose of this study was to explore behavioral patterns on residential spaces such as the patterns of residential space usage and perception on residential spaces. A questionnaire survey and interview were conducted with 426 residents living in apartment with 3 bedrooms, stairway access, and 3-bay style in the City of Seoul, Busan, and Gwangju, during the month of September in 2004. The data was analyzed with frequency, factor analysis by using the SPSS 10.0 for windows, and with proc iml by using SAS. The major findings of this study were that: 1) The most typical activities in the Anbang are $\ulcorner$sleeping and getting dressed$\lrcorner$, $\ulcorner$family communication and T.V. watching$\lrcorner$, and $\ulcorner$private affairs$\lrcorner$ ; Anbang(master bedroom) has been perceived and used as couple's private area. 2) Living room was used as a multi-purpose room carrying out various activities such as $\ulcorner$family interaction$\lrcorner$, $\ulcorner$entertaining guest with meals$\lrcorner$, $\ulcorner$children's private affairs$\lrcorner$, $\ulcorner$private affairs$\lrcorner$, $\ulcorner$hobby activities$\lrcorner$, $\ulcorner$clothes management$\lrcorner$, $\ulcorner$couple interaction$\lrcorner$, and $\ulcorner$occasions$\lrcorner$. 3) The representative patterns of activities in dining-kitchen was food $\ulcorner$preparation$\lrcorner$, and the need for social interaction in DK has been growing. The patterns of residential space usages can be used to develop and evaluate the unit plan of Korean middle-size apartment.

• 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 Korean Society of Costume
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• v.55 no.4 s.94
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• pp.107-123
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• 2005

In this thesis, I tried to compare and analyze the characteristics of the costume worn by leading figures of French movie 'Dangerous Liaison' and Korean movie 'The Scandal'. I compared the costumes they wear with the costumes of 18th century Fran[e and also tried to analyze how the costumes represent the psychological status of the persons in the movie. Since these two movies are based on the same original novel, the major figure's characters, socio-economic status and the situations they faced are similar but the physical background are very different, that is Fran[e and Korea. The analysis of the costume worn by similar characters in the two movies show differences due to the intention of tile producer's. The costumes used in Scandal shows much more use of varied colors to represent the characters of the major roles while Dangerous Liaison more faithfully follows the evidences of the costume used in the period in France. As seen from the result of this analysis, we can deduce that the costumes used in the movie not only have the simple role of clothes but also itforms the image of the figure in the movie representing the social and economic status of the person who wears them. Because of these demands, the designer should posses profound knowledge of history of the costumes of the period as well as the creativity to harmonize them with the atmosphere that the movie intend to appeal.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.96-108
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• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.

• Korean Journal of Human Ecology
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• v.13 no.6
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• pp.997-1005
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• 2004

The purpose of this research is to measure the sensibility and preference of American consumers for domestically-manufactured cotton fabrics through 7-points scale questionnaires and the 4-dimensions and 8-axes system. The key words included such images as masculine-feminine, new-old, casual-classic, and ambiguous-orderly. The images of cotton fabrics were classified through a cluster analysis. This research also included an investigation of relationship between sensibilities for cotton fabrics and their physical characteristics. The sensibilities of cotton fabrics were classified into 4 groups: 'feminine sensibility,' 'masculine sensibility,' 'new sensibility,' and 'casual sensibility.' This result represents that American consumers' sensibility is simpler than Koreans'. The order of preference was 'feminine sensibility', 'masculine sensibility', 'new sensibility', and 'casual sensibility.' The sensibilities of cotton fabrics were explained significantly by stiffness, weight, weft density, value, and chroma. Specifically, those were more influenced by color characteristics such as value, chroma, and hue than by physical characteristics. We should be able to tell a difference in the reaction of a trading country's consumers and domestic consumers to domestically-manufactured cotton fabrics through comparing this research with the previous work(Shin & Lee, 2002). Additionally, we will be able to establish a basic strategy for successfully advancing Korean fabrics into the American domestic textile industry. In this way we can expect to increase the competitive power of our domestic clothes brands.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.12-22
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• 2002

This study examines the visitors'evaluations of tourism resources in Insa-dong, which the Seoul metropolitan government has improved recently. This study adopted the method of Importance-Performance Analysis by collecting data through questionnaires. A random sampling of visitors to Insa-dong was conducted in June and July,2001. The survey included questions on the physical and psychological components of Insa-dong's tourism resources. In the case of physical components, eight factors(ancient arts shop, art gallery, atelier, calligraphy shop, pottery arts, traditional tea house, antique shop, traditional clothes) out of thirteen were categorized as 'keeping up the good work'. None of the Physical components was shown as 'low priority'or'possible overkill'. In particular, four factors(restaurant, heritage, Korean-style house and alley, traditional cultural festival) need to be impoved most urgently in terms of visitors'satisfaction. Survey results realize them as high priority in importance but low in performance, thereby designated as, 'concentrate here'. An image of the 'street' showed to be high in importance and identical in performance, so can be categorized between'keeping up the good work'and 'concentrate here'. The results show that unusual outdoor spaces and the festivals of Insa-dong have a significant meaning to the visitors. In the case of psychological components, three factors(general atmosphere experience of unusual atmosphere, appropriateness of stroll time) out of seventeen were categorized as 'keeping up the good work'. Ore factor (shopping) was designated as 'low priority'and not found to be 'possible overkill'. Thirteen factors (various events, possibility of various activity, various flood, richness of play, new experience, education cultural inheritance, parking facilities, resting places, green spaces, meeting places, guide map and information, cleanliness of facilities/convenience) need to be improved mast urgently in terms of visitors' fulfillment. They are perceived as areas of 'concentrate here'. This confirms that attractive events are essential for the recent visitor satisfaction. Furthermore, visitors are not satisfied with its amenity and acccss in Insa-dong despite the improvements. In conclusion, positive impressions, both physical and psychological, should be maintained while factors mentioned to be lacking should be prioritized in order of necessity to improve the image of Insa-dong and solutions need to be found and implemented. The results of this study would be helpful in the planning and management of nsa-dong considering the visitors'requirements.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.89-100
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• 2010

This study is intended to analyze current status of costume in the cultural industry and explore feasibility of integrating costume as important cultural contents in the digital era. Among the websites for contents as the cultural archetypes, some have strong foundations while others don't. First, as for various archetypal characters restored based on the Korean history, most of their clothes focus on shapes and colors but lack details. They should be produced in 3D to provide back views or textile patterns to users. To ease understanding of the history of costume, user-friendly services such as launch of a pop-up window when users click on specific contents in question should be available for detailed information. At least there should be a link to other related sites where users can conveniently find more details. Second, some sites have too much data under one subject, increasing complexity and undermining orderliness. As a result, it takes long time to identify the site map. In this case, it is required to rearrange the contents with Quick View by subject and related links for in-depth study. Third, each subject is important to develop the archetypes for a variety of purposes. Creation of design derived from them or their commercialization can be an example but these activities should not restrict imagination of users or degrade the value of the archetypes. Last, it is needed to adopt validation system to detect the needs for a regular update (renewal) and to fix errors. We found many servers whose operation is not stable in general. When these technical issues are addressed for stable operation, users will rely on the sites to utilize them for their purpose of developing the cultural archetypes. In conclusion, advancement of www.culturecontent.com is essential. Based on efficient management and operation of the system, the quality of contents would be increased and multi-faceted advertising campaigns focusing on needs should be launched, to promote application of the contents. This is the recommendation for the future of the cultural archetype industry in Korea.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Journal of the Korean Society of Costume
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• v.63 no.7
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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.