• Human Ecology Research
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• 제53권1호
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• pp.81-92
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• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• 복식
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• 제39권
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• pp.167-179
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• 1998

The objective of this study is to examine the costumes of the period covered in the writings of Shilhak (practical science) scholars and to research the history of costumes and their characteristics by examining how they are worn in genre paintings which are said to describe the actual life of the period. This should be studied in order to correctly establish the history of costumes. To begin with, through the writings of the representative Shilhak scholars who are thought to have affected the changes in ordinary costumes for woman, this study examined how ordinary woman of the period looked in their costumes and how they regarded various costumes they had. Then, how their viewpoints of costumes influenced ordinary costumes was investigated. Not only relics, but what was commonly worn, as they appeared in the genre paintings that contain information about daily living of that period, were researched chronologically. The results of this study showed that the change in ordinary costumes for woman in the late Chosun period was affected by Shilhak scholars who had ideologies of Shilsakusi (use of positive methods in studying), Yiyonghusaeng (the promotion of commerce and industry and the development of techonologies), and Ky ngsech'iyong (pursuit of stability in a rural economy). Moreover, after those changes there were many more changes. However, the criticism of costumes of that time and the will of revolution affected some time, costumes changed directly. The forms of the costumes had been changed in a variety of ways following the tendencies of the times, but the origin of today's hanbok (Korean traditional dress) had already been fixed in the late Choson period. Yet, today's hanbok are for special occasions, not worn as ordinary clothing. Thus, there are several reasons why the hanbok is not suitable for daily life. One of the reasons is that Korean could not cope with the western costumes indepen-dently imported during Japanese occupation in the last period of the Choson Dynasty and con-tinuing the Japanese Colony. Thus, only a part of the ordinary costume of the late Choson period has remained until now.

• 한국의류산업학회지
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• 제18권3호
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• pp.289-300
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• 2016

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

• 패션비즈니스
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• 제14권1호
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• pp.106-115
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• 2010

This study's purpose is to, first survey the traditional children clothing, clothing which doesn't get studied mostly. Second, to choose the factor that can modernize. Third, to design the present one-piece dress. Fourth, to gather an understanding about traditional children clothing and make a chance for children to wear the clothing that has a traditional factor. Traditional children clothes have a same shape with adults' clothes they use five primary color and use a pattern of a symbolic meaning which means healthy and long life. For ordinary wears there are Chimajogori and Bajijogori and for ceremonial dresses they wore Durumagi, Sagyusam which are Po and Dangui and headdress was added. The shape was considered by the children growth condition so the Gorum got longer. The dragon, cicadas, butterfly, phoenix and lots of flower pattern was used by the difference with the class. 5 one-piece design adapted Jogori, skirt, Dangui, Sagyusam, Magoja and used the traditional fabric by mixing the five primary color and the five secondary color was used to make traditional color. This study expects for a chance of children to wear traditional Hanbok or Hanbok-adapted clothes.

• 복식
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• 제60권10호
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• pp.80-87
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• 2010

The purpose of this study is to develop cultural products containing Korean beauty with modern sense by applying quilting with dyed threat among Korean traditional quilting works. Quilting with dyed thread using various colored thread expresses curve, straight and oblique lines harmoniously, is mainly used to make household goods such as a pouch, a spectacle case and a quilting pocket and a circular pattern, a cross pattern and a geometric pattern are shown in this kind of quilting. As for sewing method, half backstitch and full backstitch are used, and products made by this method are pouches stuffing pads in cotton or silk and quilting it finely to make patterns with various colored threads of stuffing cotton between linings and spectacle cases, a packet of needles and case of spoon and chopsticks which give various feelings according to arrangement of colors. Design of cultural products by applying the beauty of curves of hanbok, sleave-seam of jeogori, trimming line of dangeui. We expect that various cultural products with Korean traditional beauty and modern convenience will be developed continually by introducing the artistic strength of quilting with dyed thread to practical life.

• 복식
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• 제63권6호
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• pp.127-139
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• 2013

This research is designed to provide basic data to study the life and culture of multicultural families in Korea by taking a look at the clothing behaviors and attitudes toward traditional dresses. To this end, quantitative research was conducted on Korea-Vietnam multicultural families and Korean families. The surveys of the Korean families were completed by 250 married women in Seoul, and those of Korea-Vietnam multicultural families by 104 married Vietnamese women living in Seoul, Gyeonggi-do and Incheon. The data were analyzed using frequency analysis, factor analysis, t-test, crosstabs and ${\chi}^2$-test. The findings are as follows: First, the comparison of clothing behaviors of the Korean families and the Korea-Vietnam multicultural families found that they had statistically significant differences in values towards clothes, clothes shopping orientation and clothes purchasing behaviors. The Korean women were more involved in clothes and fashion-oriented than their Vietnamese counterparts. However, the Vietnamese women in their 20s were likely to rely more on social trends than their own needs when purchasing clothes compared to their Korean counterparts. Korean families preferred to shop in department stores, while the multicultural families relied more on discount stores and outlets. Second, the comparison of the Korean families and the Korea-Vietnam families in attitudes toward their own traditional dresses and how often to wear them showed statistically meaningful differences. The Korean group had more negative attitudes toward Hanbok, the Korean traditional dresses than the Vietnamese group. The Vietnamese women showed more interest in information on Hanbok than their Korean counterparts. They also were wearing the Korean traditional dresses more often than the Korean families. In addition, the Vietnamese women showed a stronger tendency than the Korean women that they took pride in their country's traditional dresses and believed that they were beautiful.

• International Journal of Costume and Fashion
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• 제11권1호
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• 한국가정과교육학회지
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• 제31권4호
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• pp.63-79
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• 2019

본 연구의 목적은 고등학교 교육 현장 실정에 맞춘 가정과 메이커 교육 프로그램을 개발하고 연구자가 구축한 의생활 메이커스페이스에서 실행해 가정과 메이커 교육의 효과를 평가하는데 있다. 연구 결과는 다음과 같다. 첫째, 고등학교 가정과 메이커 교육 모형을 설계하고 가정과 메이커 교육 프로그램을 개발하였다. 가정과 메이커 교육 프로그램은 메이커 교육 모형인 TMSI 모형과 Laster(1982, 2008)의 실천적 행동 수업 모형을 통합·수정하여 개발한 TPMS모형{팅커링(T: 4차시), 실천적 추론하기(P: 3차시), 함께 만들기(M: 4차시), 공유·확산하기(S: 1차시)}으로 총 12차시를 개발하였다. 개발한 가정과 메이커 프로그램의 주제는 '창의적인 전통 의생활 문화(한복)의 실천과 확산'이다. 둘째, 가정과 메이커 교육 프로그램의 효과를 알아보기 위해 온라인 설문조사를 실시한 결과, 학생들은 가정과 메이커 수업이 5점 만점에서 체험적(4.26), 인지적(4.22), 감성적(4.18), 사회적(4.18), 실천적(4.10) 순으로 긍정적 효과가 있다고 인식하였다. 본 연구가 1차 교육과정 시기부터 만들기 활동을 통해 다양한 교육적 목적을 꾀해온 가정 교과의 실습 교육에 기여가 되기를 기대한다.

• 한국의류산업학회지
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• 제5권5호
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.