• The Research Journal of the Costume Culture
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• v.31 no.2
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• pp.228-247
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• 2023

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr's image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.6
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• pp.1142-1160
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• 2022

Text data plays a significant role in understanding and analyzing trends in consumer, business, and social sectors. For text analysis, there must be a corpus that reflects specific domain knowledge. However, in the field of fashion, the professional corpus is insufficient. This study aims to develop a taxonomy and thesaurus that considers the specialty of fashion products. To this end, about 100,000 fashion vocabulary terms were collected by crawling text data from WSGN, Pantone, and online platforms; text subsequently was extracted through preprocessing with Python. The taxonomy was composed of items, silhouettes, details, styles, colors, textiles, and patterns/prints, which are seven attributes of clothes. The corpus was completed through processing synonyms of terms from fashion books such as dictionaries. Finally, 10,294 vocabulary words, including 1,956 standard Korean words, were classified in the taxonomy. All data was then developed into a web dictionary system. Quantitative and qualitative performance tests of the results were conducted through expert reviews. The performance of the thesaurus also was verified by comparing the results of text mining analysis through the previously developed corpus. This study contributes to achieving a text data standard and enables meaningful results of text mining analysis in the fashion field.

• Journal of the Korean Home Economics Association
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• v.19 no.2
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• pp.123-133
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• 1981

If we are to define that the traditional costume is a comprehensive expression of the culture, thoughts, and arts of a country, it is needless to say that the traditional costume would have always reflected the social and cultural aspects of the times. In order words, the cultural contemplation of a certain people at some point the history is only possible when we observe the distintive features of the costume worn by the people of respective times. Although the Korean people had the native costume of its own from the times of the Ancient Choson to the Three Kingdoms of Koguryo, Paekche, and Silla, the Chinese influence on Korean traditional costume became somewhat pronounced ever since the Silla strenghtened the political ties with the T'ang dynasty in China, and it came to a climax when the dual structure in Korean native costume, being compounded with the Chinese touch, continued to be prevailed from the era of the Unified Silla to the Koryo and throughout the succeeding Yi dynasty, thereby copying the typical aspects of Chinese pattern in clothing and dresses worn by the ruling classes, namely the goverment officials including the Kings. Therefore, it is our aim to study the pattern of Chinese influence on our traditional costume, as well as social and cultural aspects by way of contrasting and comparing our official outfit system, which had been developing in dualism since the era of the Unified Silla, with that of China, and to trace in part the Korean traditional costume. In comparing our traditional official outfit system with that of China, we have basically concentrated on the comparison of the official outfit systems during the periods of the Three Kingdoms, the Koryo, and The Yi dynasty with that of corresponding era of Chinese history, namely the dynasties of T'ang, Sung, and Ming, and followed the documentary records for the comparison. Koreans had fallen into the practice of worshipping the powerful in China and begun to adopt the culture and institutions of the T'ang dynasty since the founding of the Unified Silla. From this time forth, Korean people started to wear the clothes in Chinese style. The style of clothing during the period of the Koryo Kingdom was deeply influenced by that of the T'ang and Sung dynasties in China, and it was also under the influenced of the Yuan dynasty(dynasty established by the Mongols) at one time, because of the Koryo's subordinative position to the Yuan. At the close of the Koryo dynasty, the King Kongmin ordered the stoppage on the use of 'Ji-Joung', the name of an era for the Yuan dynasty, in May of the eighteenth year of his rule in order to have the royal authority recognized by a newly rising power dominating the Chinese continent, the Mind. Kind Kongmin presented a memorial, repaying a kindness to the Emperor T'aejo of the Ming dynasty in celebration of his enthronement and requested that the emperor choose an official outfit, thereby the Chinese influence being converted to that of the Ming. As a matter of course, the Chinese influence deepened all the more during the era of the Yi dynasty coupled with the forces of the toadyic ideology of worshipping the China, dominant current of the times, and the entire costume, from the imperial crown and robe to the official outfit system of government officials, such as official uniforms, ordinary clothes, sacrificial robes, and court dresses followed the Chinese style in their design. Koreans did not have the opportunity of developing the official outfit system on its own and they just wore the official outfit designated on separate occasions by the emperors of China, whenever the changes in dynasty occurred in the continent. Especially, the Chinese influence had greatly affected in leading our consciousness on the traditional costume to the consciousness of the class and authority. Judging from the results, Koreans had been attaching weight to the formulation of the traditional outfit system for the ruling classes in all respective times of the history and the formulation of the system was nothing more than the simple following of the Chinese system.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.131-150
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• 2015

This article studied the procedures and items used in royal princess weddings by examining "Garyedeungrok(嘉禮謄錄)" which describes Princess Hwasun(和順翁主, 1720-1758)'s wedding in 1732. This was the first wedding by a princess during King Yeongjo(英祖)'s reign. Preparation for the wedding was made based on the previous weddings of royal princesses, but it did not follow the old tradition. The wedding costs were cut down, and it was done in a simpler way than before. However, the simplification of elaborate wedding outfits were not part of this change as ceremonial robes such as No-ui(露衣), Jangsam(長衫) and Chopo(綃袍) were used without much alteration. The wedding ceremony of Princess Hwasun shows the transition process from the royal princess wedding ceremony traditions and rituals in the late 17th century to "Gukhonjeongrye", which emerged and became solidified as a new social norm in the 18th century. A legitimate royal princess and a de facto princess from King's concubine were hardly different when it came to their royal outfitting but the disparity in social status between the two was found in the materials used to make clothes for their respective husbands. Princess Hwasun's wedding procedure shown in "Garyedeungrok" is similar to that of "Gukjo-orye-ui(國朝五禮儀)": Napchae(納采), Nappye(納幣), Chinyeong(親迎), Dongroe(同牢), Hyeongugo(見舅姑), Hyeonsadang(見祠堂), and Seojohyeon(壻朝見). But "Garyedeungrok" deals with the procedures of Gantaek(揀擇), Buma-guanrye(駙馬冠禮), and Seonon(宣醞), which are not included in "Gukjo-orye-ui", and also with the process of preparation for wedding items and the information of related people. However, it is hard to learn about its specific shapes and features because it is often restricted to lists such as a list of clothing. Collecting new materials and an in-depth and succeeding study are required in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.1 s.26
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• pp.81-91
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• 1988

The purpose of this study is to investigate the physiolosical responses and subjective wear sensation to the clothes with different cellulose composition. The experimental garments were four types of cellulosic fabrics, respectively composed of $100\%$-cotton, $100\%$-Rayon, cotton/Flax 85/15, and rayon/Flax 85/15 (weft blended), were sewn in blouses with half-length sleeves. Four healthy women were chosen for this experiment. The condition of the experimental room were in two environments: Temp., $25{\pm}1^{\circ}C$, R.H. $60{\pm}3\%$ and Temp., $30{\pm}1^{\circ}C$, R.H. $70{\pm}3\%$, and air velocity was maintained at 0.25 m/sec. The results are as follows. 1) At $25^{\circ}C$, rayon blouse showed the pleasantest feeling because of its excellent humidity sensation and tactile sensation. At $30^{\circ}C$, rayon and flax blended blouse showed most comportable sensation. In both environments, blouse of $100\%$ cotton showed the least pleasant because of high vapor pressure inside the blouse and bad tactile sensation. 2) Vapor pressure inside the blouse and tactile sensation play the most impotant role in comfort. Consequantly the blouse made of $100\%$-cotton which bring low air permeability, moisture regain and water vapor permearbility showed more unpleastness than rayon blouse because it raises temperature, relative humidity and vapor pressure inside the blouse under the hot circumstances In the conditions with much sweat, rayon and flax blended blouse with high stiffness increases comfort better than $100\%$ rayon because the former prevents sticking to the skin.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.1 s.26
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• pp.37-43
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• 1988

The purpose of this study is to compare Jegory with Simii, and to understand the construction of Jegory, assuming that Jegory is related to Simii system. The results obtained are as follows ; 1. Teie-ku-li was the first record among the name of Jegory in literature, was called about A.D. 1408. 2, When Jegory and Simii were cut, front-back width and sleeve length standarded on the width of cloth. 3. The cutting of Jegory disposed to seperate right and left width, to connect front and back width up to the middle term of Chosen Dynasty Period. 4. The sewing order of the Simii was Dungsol-Jindong-Baerae-Sougu. The sewing order of the Jegory in $\ulcorner$ The Book of Chosen sewing$\lrcorner$ was Shoulder-Jindong-Baerae-Sup-Dungsol-Kit and in literature of 1960's it was similar to Simii. 5. The lined clothes in $\ulcorner$The Book of Chosen Sewing$\lrcorner$ was sewn to put the inside in the surface, different from the literature of 1960's. 6. In Chosen Dynasty Period the shape of Simii depended on $\ulcorner$Moon Kong Ka Rye$\lrcorner$, but it was changed to similar to Jegory in the latter term. 7. The empty void in Jegory offers usefulness. It relates to Oriental negativism that yin is more useful than yang.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.1 s.26
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• pp.1-11
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• 1988

This study dealt with the Dopo, one of the representative ceremonial dress that acclasical scholar used after the middle of the period of the Chosun dynasty. This study represents the period of Dopo's formation and its origin, and the characteristics of the weary of Dopo in Young Dong Province Area is arranged by folkloric method on the base of the exisitng facilities. Dopo has worn since the middle of the period of the Chosun dynasty. It is the kind of Jig young Po that its back is cuffed for convenience and has another cloth as a ceremonial dress. It is thought to be one of the national customs pos formed by the mixture of the big sleeve type which is influenced by confusion life feeling. It seemed that the name of DoPo comes from the Jigchal, an ordinary dress of a high official in China, which is call Dopo. This Dopo is changed and received and so disappeared but it is still used such as ceremonial dress, the necessary articles for marriage of the bride, a bridegroom's liturgical vestments of a memorial service held on the anniversary of the death of a person, mourning dress and a shroud grave clothes. This area has different characters on wearing customs. It is changed into the kind of Dopo, with its back not cutting. The hemp sack is almost used as its subject matter. It doesn't have collar strip for the classification of one's family in any case, and Dopo which is prepared for necessary articles for marriage can not be taken tack after seperating by divorce.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.6
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• pp.1010-1020
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• 1997

For this study, we did needlework of the sample considering practical aspects of production and consumption of silk, high-quality material for women's clothes, and then analyzed the state of the seam puckering after press and dry cleaning, estimated the Seam Puckering based on the mechanical properties of silk related to machine sewing, and examined the effects which Mechanical Properties have on Seam Puckering closely. Through this, we reach the following conclusion. 1. There are three types of seam puckering for each stage, which are caused bathe smoothness of the surface by press, and the difference between the shrinkage rates of fabric and sewing thread by Dry Cleaning. 2. In analyzing seam puckering classified by each step, seam puckering after sewing the fabric is related to WT negatively, while to RT and W positively. Seam puckering after sewing and pressing the fabric is related to WT, RC, MMD negatively and seam puckering after sewing, pressing anddry cleaning the fabric isrelated to WT negatively, too. 3. Concerning the mechanical properties of the sample with a little seam puckering, WT, LC, WC, RC, MMD, SMD is relatively large while RT, B, 2HB is small. 4. Judging from the result of estimating seam puckering based on mechanical properties, the estimate-formula is satisfied in this study.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.449-461
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• 2005

The purpose of this study is to rediscover the hidden value of non-mainstreamers style which has been overlooked for the past decade by investigate the aesthetics and formative features of the Grunge fashion. The Grunge fashion was derived from explosive popularity of the early 90's grunge music. Grunge was the alternative anti-thesis against mainstream pop music and anti-fashion against mainstream fashion. Dirty, rubbish grunge style of the poor street youth and grunge musicians have raised to the high fashion by designers. And These trial of designers made people to notice the value of the non-mainstreamers street style like grunge. Actually, the grunge brought the shock with many argument to the 90's fashion field. But now, It became the classic of the street fashion. And It has potent influence on the music, culture and high fashion. The Grunge is a kind of links between music and fashion, street fashion and high fashion, sub culture and mainstream culture, the past and now. Grunge isn't only a fashion of appearance. It is the attitude of wearing clothes and living a life. Variety grunge style in the international street fashion, high fashion, typical musicians's fashion of the 1990's and the 2000's was researched for this study. These materials were gathered from music magazines, fashion magazines, movies, musics and books. As a results of analysis, Grunge has the formative features like mix & match, layering, patchwork, primitive edge, rag, retro, recycle, kinderwhore, sneer scribbling, disheveled hair. Grunge also has the Aesthetic features like the beauty of $disorder{\cdot}\;disharmony{\cdot}\;incompleteness{\cdot}\;kitsch{\cdot}\;poverty{\cdot}\;alternative{\cdot}\;eclectic{\cdot}$symbiosis. For the last 10 years, These features changed our fashion be more pluralistic and dynamic.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.680-691
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• 2005

The purpose of this study was to investigate the change of color preference of young women living in Seoul, to provide materials which is useful for setting up the color plan for a better costume, and to suggest new information in the apparel study. This study was done on the basis of color preference only by regional characteristics and the range of this study restricted on young women' clothes. The subjects were 1,100 in 1998, 1,393 young women in 2004. They were photographed in the street. The data were analyzed by frequency, percentage and $\chi^2-test$. The results of this study was as follows; The preference of chromatic color and achromatic color, hue and tone, pattern of textiles are different mainly by regional characteristics. 1) In 1998, young women prefered achromatic colors to chromatic colors. and the most preferred achromatic color was black, especially women of YOUNGDUOPO area prefer black. But, in 2004, young women preferred chromatic colors to achromatic colors and the most preferred achromatic color was white in the all areas. 2) Analysis of hue shows that in 1998, blue is most preferred color in the all areas by young women. But, in 2004, the most preferred color was different depending on the areas 3) Analysis of tone shows that in 1998, vivid, pale, dark tones are commonly preferred by young women. However, APGUJUNG area have specially inclination, they prefer vivid, pale and light tone. In 2004 year, pale, vivid and bright tones are most preferred tones in the all areas. 4) Analysis of pattern of textiles shows that, pattern textiles were preferred by young women of APGUJUNGDONG area in 1998 and YOUNGDUOPO area in 2004. The most preferred. pattern for young women in all area was a stripe pattern.