• Journal of the Korean Society of Fashion and Beauty
• /
• v.6 no.2
• /
• pp.97-103
• /
• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• Conservation Science in Museum
• /
• v.12
• /
• pp.25-34
• /
• 2011

This study examined conservation process of white porcelain bottle with phoenix and peony design poly chrome, recovery of golden powder painted porcelain being damaged and colored, and recovery material and conservation methods by using a variety of experiments. Not only traditional method but also modern method can recover golden powder painted area being damaged and/or peel off, and suitable recovery was found out by using experiments. The golden powder paint of pattern edge was recovered not by traditional method but by modern method of golden powder paint with acrylic paint and binder.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.5 no.3
• /
• pp.37-48
• /
• 2003

'Pattern' is of very unique nature in each and every country around the world, and its aesthetic feeling of 'pattern' has been handed down according to its nationality and cultural development process. That is, 'pattern' is ornament to symbolize each country's aesthetic standard or choice through some shape, reflecting social consciousness or religion philosophy. Mostly based upon literature survey and case study, this survey paper analytically compares oriental botanical pattern with occidental botanical figure, which has been influenced by Buddhism-Confucianism and Christian religion respectively. The results show that some patterns are commonly used in both area, while meaning differently in some cases: lotus (life), pomegranate (wealth and prosperity in orient, resurrection in occident), grape (fecundity in orient, wealth in occident), dangcho (fecundity in orient, victory in occident). And the other patterns look uniquely used either just in orient or only in occident. For instance, oriental area had its own patterns such as peony (meaning wealth and honour), peach (longevity), ume flower (happiness), orchid (fecundity); while occidental area used lily (purity), olive (peace), palm (victory), and so on. Interestingly, the botanical patterns were used as main patterns in orient whereas as minor in occident.

• Journal of the Korean Society of Costume
• /
• v.59 no.9
• /
• pp.1-15
• /
• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.

• The Research Journal of the Costume Culture
• /
• v.9 no.3
• /
• pp.501-510
• /
• 2001

This study is focused on apparel textile design process applying pre-developed Korean traditional motifs. Since the fusion culture is in trend, Orientalism or Oriental look is the center of attraction in fashion. Under the circumstances, developing the traditional resources as sophisticated Korean-style is the goal of the BK21 team. This study makes a move to achieve the goal. As a method of accomplishing this study, 4 trendy motif samples such as stylized letter, butterfly, peony, and female face are selected after investigating fashion magazines and fashion related websites. As a result, pre-developted Korean traditional motifs are elected and revised using Adobe Illustrator 9.0. The newly revised motifs are applied to the textile pattern repeat form. The completed textile patterns are simulated on the simulated on the shawls to show their usages as one of souvenir items since the year of 2001 is the year of “Visit Korea”.

• Journal of the Korea Furniture Society
• /
• v.20 no.5
• /
• pp.414-430
• /
• 2009

This paper is designed for the purpose of suggesting Figurative data applicable to modern furniture designs through doing research on Haejuban's engraving that includes excellent Figurative beauty among Korean traditional lighted-floor type furnitures. As a result of the analysis, Haejuban's(Traditional Korean dining table) engraving pattern type was mainly divided into independent patterns and combined patterns. The patterns expressed the most among them are peony patterns. The patterns expressed by the engraving mostly showed the Figurative characteristics of symmetry. The patterns shown in Haejuban's engraving wish or stand for richness, long life, lucky, fidelity, divinity, happiness, success and so on. The species of trees used for Haejuban were a total of 8 kinds such as ginkgo trees, zelkova trees, walnut trees, wild-walnut trees, chinaberry trees and other scrub trees. Ginkgo trees were used the most among them.

• Journal of the Korean Society of Costume
• /
• v.61 no.2
• /
• pp.88-101
• /
• 2011

This study emphasizes on the characteristics of the excavated fabrics from the tomb of Kimwhoak in the late 16th and early 17th centuries. All of 118 kinds of fabrics are used in excavated costume from the tomb of Kimwhoak. Classified by its materials, it is divided into small groups as follows: 63 pieces of spun silk tabby(53.6%), 14 of spun yarn silk(11.9%), 13 of thin filament silk tabby(11.0%), 8 of thin silk tabby(6.8%), 4 of satin without pattern(3.4%), 3 of filament silk tabby(2.5%), 3 of twill without pattern(2.5%), 2 of satin damask(1.7%), 2 of mixture fabric with silk and cotton(1.7%), and 2 of ramie fabric(1.7%), 1 of simple gauze without pattern(0.8%), 1 of damask with supplementary gold thread(0.8), 1 of cotton(0.8%), 1 of etc(0.8%). Classified by ways of weaving: 106 pieces of plain weave(89%), 6 of satin weave(5%), 3 of twill weave (3%), 1 of gauze weave(1%), 1 of compound weave(1%) and etc(1%). In point of patterns, the most of textiles are without pattern, there are only two of them are patterned textile. such as lotus patterns with vine, peony patterns with vine. Their patterns are very similar to those of other tombs in the same age.

• Fashion & Textile Research Journal
• /
• v.10 no.4
• /
• pp.479-488
• /
• 2008

The purpose of this study was to re-interpret the traditional patterns in modern point of view and connect them to the apparel textile design to use them widely in our real life. For this, a documentary research on the traditional patterns and arabesque patterns was made first, and then, through the manual and photoshop workings, two apparel textile designs were suggested. As a result, the followings were acquired: First, the arabesque pattern, which is a traditional pattern of Korea, has a continuous life power and a natural formative characteristics. In its pattern, there is an abundant possibility of change. So, it has a wide usability regardless of time and space. As the symbolic image of the arabesque pattern is connected with the instinctive beauty sense of human beings, it has shown the more adhesive affinity that any other materials. Second, two kinds of textile design were suggested. The motif of work 1, "Fragrance of Woman," was the richness and the harmony, and so a lotus arabesque pattern was selected to present its concept, "Classic Elegance." The expression technique was to use a manual work and cloths to make it a voluminous one. The motif of work 2, "Green Field" was to show the clean beauty with a lotus arabesque pattern. Its concept was the "Natural Elegance," and the expression technique was to repeat the motif by using the Adobe Photoshop to complete the work.

• The Research Journal of the Costume Culture
• /
• v.15 no.6
• /
• pp.1053-1062
• /
• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.21 no.1
• /
• pp.163-180
• /
• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.