• 복식문화연구
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• 제32권2호
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• pp.247-259
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• 2024

This study assessed the effectiveness of brand image communication on consumer perceptions of cruelty-free fashion brands. Brand messaging data were gathered from postings on the official Instagram accounts of three cruelty-free fashion brands and consumer perception data were gathered from Tweets containing keywords related to each brand. Web crawling and natural language processing were performed using Python and sentiment analysis was conducted using the BERT model. By analyzing Instagram content from Stella McCartney, Patagonia, and Freitag from their inception until 2021, this study found these brands all emphasize environmental aspects but with differing focuses: Stella McCartney on ecological conservation, Patagonia on an active outdoor image, and Freitag on upcycled products. Keyword analysis further indicated consumers perceive these brands in line with their brand messaging: Stella McCartney as high-end and eco-friendly, Patagonia as active and environmentally conscious, and Freitag as centered on recycling. Results based on the assessment of the alignment between brand-driven images and consumer-perceived images and the sentiment evaluation of the brand confirmed the outcomes of brand communication performance. The study revealed a correlation between brand image and positive consumer evaluations, indicating that higher alignment of ethical values leads to more positive consumer assessments. Given that consumers tend to prioritize search keywords over brand concepts, it's important for brands to focus on using visual imagery and promotions to effectively convey brand communication information. These findings highlight the importance of brand communication by emphasizing the connection between ethical brand images and consumer perceptions.

• 한국의류산업학회지
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• 제14권2호
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• pp.203-210
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• 2012

This study, focusing on the costumes of Kouge in the era of Kamakura and the end of Heian in Japan, aims to explore the aspects and characteristics of the costumes that were developed under political, economical, and social circumstances. The findings are the following. Male costumes include Sokdae, Pogo, Euigwan, Jikeui, Sueui, and Sugan, while female costumes include Shipidan, Sogyu, Sejang, and Hansam. Different clothes of Kuge were chosen depending on the types and purposes of the occasions: full dress and Yahkjang, a semi-dress, for a ceremonial purpose, street costume for a personal visit purpose, outdoor clothing for hunting and outdoor activities, Cheongjangsok, and Sukjikjangsok. In these various types of clothes we can assume the elegant life of aristocratic class of Kouge. In addition, different fabrics, patterns, and dresses were chosen depending on the grade of ranks of Kouge, so that Kouge can differentiate their ranks, keep the order of the ranks, and enhance their authority by themselves. With the advent in the era of Kamakura, the power of Kouge was weakened and their clothes underwent changes, some types of clothes were omitted or simplified or the clothes of subordinates were worn. In addition, when new forces appeared and new clothes came about, there were changes in the purpose and the wearer of the clothes: from ordinary clothes to official clothes, from the clothes of lower class to the clothes of higher class, and from Sukjikjangsok to Cheongjangsok.

• 한국가정과학회지
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• 제3권2호
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• pp.135-153
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• 2000

Shoes originated from the practical purposes : to protect feet from heat, cold. etc., and developed into various shapes. representing ornamentation and hierarchy. It was revealed that the aesthetic value was differently manifested from the practical one by different natural environments and socio-cultural Phenomena of the times in the East and the West. Comparing shoes in the East with those in the West, this study finds out the origin of shoes in the East and the West, and shapes and characteristics of shoes through the changes of times. Investigating various kinds of shoes in the East and the West, it also finds out the differences in status representations. Shoes are classified into the following styles : in the West. (i) sandal in which the instep was almost exposed, tied with strips and fixed with band, (ii) closed shoes covering the instep, (iii) boots that arose above the ankle: in the East, (i) shoes without shoe neck (리) boots with shoe neck (화) and wooden shoes (극). Status was also represented in shoes. In the West. the status difference was manifested mainly by jewelry or embroidery ornamentation. In particular, it was realized by the way they tied the shoes in Rome and by the length of the pointed front of the shoes in Romanesque and Gothic period. In the East, China, Korea and Japan, on the other hand, the use of shoes was regulated in detail by the official costume system, where material and color played an important role in marking the status.

• 대한가정학회지
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• 제45권2호
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• 동아시아식생활학회지
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• 제1권1호
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• pp.31-42
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• 1991

Since the year 1795(in the 19th year of King Jungjo), the form of Banquet Record was established. In the year 1827(in the 27th year of King Sunjo), the formality of Banquet was made at Ja-kyung Palace for the first time. Thereafter it was utilized by all banquets, So it was called the“model of courtesy”. The compostion of Jinchan Uigue of the year 1887(in the 24th year of King Gojong) was identified as follows; Banquet Record was composed of 4 Volumes. In Preface, there were Data choice(Taekil), Personal rank his name(Zwamok), Pictures of ceremonies(Dosik). In 1st Volume, there were King's order(Jungyo), Answer of King's question(Yeonseol), Musuic Record(Akjang), Compliment for King(Chisa), Poem for royal family(Junmun), Procedure of ceremony(Uiju), Works of theauthorities concerned(Samok), Resource indices(Gyemok), Letters from chief of the authorities concerned (Gyeas), Official letters(Imun), Letters to headquarters from local officers(Negwan). In 2nd Volume, there were Consult for budget(Pummok), Letters from to local officers from head quarters(Gamyul), Banquet menu(Chanpum), Utensil item(Gijong). In 3rd Volume there were repairment(Suri), Arrangement(Besul), Umbrella and flag for ceremonies (Ui Jang), Guard(Uiwui), List of quests(Neyebin), Ministers(Munanjesin), Musician and dancer's name and costume (Gongryung), Musical instrument(Akgipungmul), Rewards(Sangjum), Expenditure of banquet(Jaeyoung).

• 복식문화연구
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• 제8권6호
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 복식
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• 제50권7호
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• pp.15-31
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• 2000

1. After the Chu Dynasty(周代), we can confirm the fish shape mark made of stones as the relics of the Chunkuk dynasty(戰國時代). In the Shu Dynasty(隋代), the system of bamboo and the rabbit shape mark made of silver into the fish shape mark. As it were, made of bamboo or siltier changed into the fish shape mark made of jade, gold, silver or wood. 2. In the Dang Dynasty(唐代), the used the fish shape credit mark made of jade, gold, silver, copper or textile, according to their classes. According to one's posit the man who wore purple, red coat, credit mark made a gold and silver. attached with putting them in fish bags. 3. In the Ryo Dynasty(遼代), there was also a system of attaching marks. The emperor was hanging the fish shape and the officials attached the double fish shape to the common dress. fish shape of jade. gold, amber, agate, silver or copper. without any fish bag. 4. The Song Dynasty(宋代) followed the system of the Dang Dynasty they used only the fish shape bags without marks in them. Hanging the fish shape bags made of gold and silver at the back side of the belt. 5. The Gin Dynasty(金代) carried out the system of made jade, gold or silver like the Dang, Song and Ryo Dynasty. In the Sejong Kingdom a system of paper card was carried out as the credit mark of the eighth and the ninth grade. 6. In the Ming Dynasty(明代), the military official general attached the golden, silver, ivory of jade, wood and copper cards with their positions and names. 7. Following the Dang Dynasty, Japan made of fish shape bags to their clothes. Colors of their fish shape marks were same as their clothes. They made the marks, such as crystal, cow's horn, lead and nickel and plated them with gold or silver. 8. In Korea, Pohai(발해) established the fish shape credit mark differed in material. gold, silver or copper according to their positions. We can confirm the Unified Silla(南國;統一新羅), carried out the system of attaching the fish shape in Chonma Chong(천마총), Golden Crown Chong(金冠塚), the King's 13-17 belt ring unearthed at the north part of Court South threat Chong(황남대총), the fish shape golden or silver, to their purple or red ceremonial coats. In the Koryo Dynasty(高麗), like the Dang, Song and Pohai, they attached the fish shape golden or silver marks, to their purple or red ceremonial coats.

• 복식문화연구
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• 제12권6호
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• pp.1060-1069
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• 2004

We can study and judge the costumes of the Three Kingdom period through an ancient tomb murals and various burial mound(clay) figures, however, it is quite difficult to search for costumes of the Goryeo period ($960{\sim}1392$), because dresses from this era were rarely found, related antiquities are limited and hard to survive. This is the reason why people say that the Goryeo Dynasty is the period of undiscovered era for its history of costumes in Korea. Fortunately, these days, there are various kinds of buddhist statues discovered with its burial accessories such as costumes and dyed fabrics of the Goryeo era. Through these, we can glimpse through the Goryeo cloths and develop our researches on this field. In addition, a man called Seo Geung(서긍, the Chinese scholar Xu Jing) wrote a book in the 12th century about peoples lives in Goryeo and in this book, there are few documents about the people's costumes which help us to understand the period's traditional dresses. In this paper, we will look for the traditional costumes which were formed and developed through people's lives in Goryeo, using remains from various burial accessories in buddhist statues as well as the documents related to the costumes written in ${\ll}$Goryeosa 고려사${\gg}$. Moreover, costumes of a period usually developed and influenced by the atmosphere of people's lives both economically and mentally, therefore, in this study, we will especially focus on the dresses of the bureaucratic officials and their wives, who led comfortable lives and latitude of mind. Through the records, like Silla, Goryeo exported Sehjeo(세저) and Sehjoongmapo(세중마포) to China. And we found out that Silla's skillful weaving techniques of hemp and ramie cloths were succeeded to Goryeo. According to above facts, Goryeo people made clothes with various kinds of fabrics such as, different sorts of silks, ramie, hemp cloths and cottons. They also have very skillful manufacturing techniques for certain textiles. Their official robes were generally influenced by Tang and Song Dynasty, but, like ordinary people, we found out that the government officials also wore baji(pants) and a jeogor(jacket), which were traditional costumes since the Unified Silla Kingdom with various coats. Especially, women's costumes such as jeoksam(unlined summer jacket) and hansam(한삼), which are sort of jeogori(jacket), baji(pants) and chima(skirts) were made of various kinds of silks and ramie cloths, that were generated from the Goguryeo Kingdom, with jikryeongpo(a long jacket and striped skirt).

• 복식
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• 제4권
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.