• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.83-90
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• 2023

The recent trend in younger generations of wearing traditional costumes or incorporating fusion hanbok into daily wear necessitates the development of modern hair accessories to complement hanbok. The purpose of this study is to develop practical and modern hair accessory designs inspired by royal women's hair ornaments that complement hanbok, and therefore expand the scope of fashion content development utilizing hanbok culture as well as meeting the demand for various experiences of traditional culture. This research studied the literature on traditional hairstyles and accessories of Queen Yeong and constructed models of these accessories for the purpose of empirical research. The production process first required creating a basic foundation of nylon mesh reflecting the silhouette of a traditional hairstyle, and then grafting a digital textile printed fabric using majestic and extravagant royal relics on top, thus employing the trompe l'oeil technique to ultimately give the impression of wearing traditional jewelry. As a result, a total of six hair accessory designs were completed, produced with hairbands, hair pins, and hair ties. In addition, the accessories are designed to be easily worn regardless of the wearer's hair style, and the stiff yet flexible nylon mesh effectively expresses the shape of a voluminous hairstyle and creates an optical illusion, blending into the hair. These research results present a unique aesthetic and cultural experience to the greater public seeking both daily entertainment and value from rarity.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.7
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• pp.1205-1219
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• 2010

This study analyzes the conditions and products of internet shopping malls that sell natural dyeing products. In this study, 98 natural dyeing internet shopping malls were selected. The results of this study are as follows. The locations of the internet shopping malls were Gyeonggi-do, Seoul, Jeollanam-do, Gyeongsangbuk-do, Gwang-ju (city), Daegu (city), Busan (city), Gyeongsangnam-do, and Jeju-do. The most frequent dyes of the natural dyeing products were loess, followed by charcoal, indigo, and persimmon. Indigo was most frequently used in Seoul, with loess and charcoal most frequent in Gyeonggi-do. Persimmon, indigo, loess, and charcoal were mainly used in Jeollanam-do, with persimmon and loess in the Gyeongsangbuk-do, and persimmon in Jeju-do. The highest ordered product categories were accessories, followed by adult clothing, interior decoration products, and bedding. The most frequent products were bedclothes, followed by scarves, female shirts, blouses, pillows, female jackets, and vests. Regarding the price of products, 150,000-200,000 won was the highest for the Saenghwal Hanbok, with 10,000-30,000 won for underwear, 30,000-60,000 won for accessories, and 100,000-150,000 won for bedding. Concerning product information, 58.2% of internet shopping malls offer the product size and almost half of them did not show the properties or directions for handling the product. Based on the research results, the problems of the conditions and products of natural dyeing internet shopping mall were derived. The results show that the natural dyes of internet shopping malls lacked regional symbolism, the products were not specialized, and product information was not fully offered to consumers. To solve these problems, the strategies for marketing the promotion of the natural dyeing internet shopping mall were, ‘Using natural dyes from local resources’, ‘Market oriented and specialized item design’, and ‘Offer right product information’.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.557-566
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• 2022

This study aims to investigate Jinju silk companies, production items, and silk industry supporting projects from 2019 to 2021 in order to discuss the current status of the silk industry. The following are this study's methods: First, a list of Jinju silk companies that have been operating for the past three years (2019-2021) was prepared to investigate the current status of the Jinju silk industry. Second, an investigation was conducted into the representative products produced in Jinju over the past three years; this investigation was conducted using direct interview. Third, an investigation was conducted on the projects that supported the Jinju silk industry over the past three years, and the list of members of the Gyeongnam Textile and Jinju Silk Industry Cooperative Association-a facility of Gyeongsangnam-do Province, the Jinju City Hall brochure (2019), and the SMINFO(SMall business status INFOrmation System) were utilized for this purpose. The following are the results: First, Jinju silk companies are classified into four categories, namely weaving, dyeing, twisting, and designing companies. According to data from 2021, 83% (34 of 41) of silk companies were weavers. Second, the demand for solid fabrics has increased over the past three years. The demand for patterned jacquard fabrics in producing Hanbok and Western-style clothing has decreased. Third, support for the Jinju silk industry could be classified into five categories: support for the operation of silk research institutions, support for the diversification of Jinju silk, support for the promotion of Jinju silk, support for the operation of silk manufacturers, and others.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.399-406
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• 2023

Due to the increasing influence of the Korean Wave, traditional themes are emerging to the forefront of performance content development, emphasizing the necessity of applying the art of storytelling to the creative process. The purpose of this research is to examine the differentiated costume design of the Pansori ballet "Dokkaeba! Dokkaeba!," developed through the implementation of storytelling in its performance creation process. Choreographers, writers, and costume designer collaborated throughout the storytelling process from planning to content creation. This resulted in a clarified depiction of the Dokkaebi as divine beings with transcendental powers who are simultaneously friendly and familiar entities, often appearing in the form of humans and objects. Accordingly, the costume design based on this collaborative storytelling deliberately avoided the appearance of Dokkaebi reminiscent of 'Kwimyeonwa' or Japanese 'Oni', typically expressed with horns or decorations, and instead implemented novel design elements, such as fusion Hanbok with a variety of dimensionally aesthetic accessories, meaningful color contrast in modern clothing, textural elements indirectly expressing character and transmogrification, and daily clothing attire to illustrate the humanized Dokkaebi. Therefore, this study seeks to contribute to the production of new performance art showcasing the Dokkaebi by identifying the diversity of expression and direction within costume design.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.