• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.6
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• pp.891-909
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• 2019

This study uses a documentary survey, field survey and textile's characteristics to understand the history of the Punggi Viscose Rayon. Punggi's textile industry grew as people migrated from Pyeongan Province in the 1900s. Little is known regarding early production conditions, but documents show cottage industries in the 1940s made union cloth using silk and rayon. The Punggi weaving industry peaked after the Korean War and declined in the late 1950s. Punggi rayon at that time was mainly used for lingerie or lining, with miliary or polka dot patterns. The industry regained momentum when the power loom was introduced in the 1960s. Manufacturers also started weaving union cloth with synthetic fibers and rayon. In the 1990s, jacquard looms enabled the weaving of elaborately colored and patterned textiles for outer fabric that made Punggi rayon famous. Most Punggi rayon looms have developed in the order of manual handlooms, semiautomatic looms, Jokdapgi, to power looms. Looms equipped with dobbies or jacquard devices also changed from wooden dobby looms to wooden jacquard looms and then to iron jacquard looms. Punggi Rayon currently has its own trademark and tag, but lacks specific regulations on the blending of fibers.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.17-34
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• 2011

This study examined how Bangryeong(方領) had been changed from ancient times in China to the Joseon dynasty[朝鮮] in Korea by analyzing Bangryeong in literature, relics, paintings, etc. Based on this, we also analyzed the form of Bangryeong itself and clothes with Bangryeong using excavated relics from the Joseon dynasty. First, from early Chinese literature, it was confirmed that meaning of "Bangryeong" was a collar attached straight to a garment so that if the garment is put on with the fronts intercrossed with each other the back neck part of the collar is naturally squared. Second, from literature in the Joseon dynasty, it was confirmed that the meanings and forms of Bangryeong were diversified and had different characteristics throughout different time periods. Different from its original meaning in China, Bangryeong came to mean an intentionally designed square shape. Third, Bangryeong from the Yuan(燕) and Ming(明) Dynasties were found among relics excavated in China. Bangryeong from Yuan was Cheolik[帖裏] worn by men, and Bangryeong from Ming was found in women's dresses. Fourth, Bangryeong relics from the Joseon dynasty examines its form in detail. Bangryeong was found in various forms of clothes, and this was consistent with findings from literature review.

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.941-955
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• 2003

In this study, the researcher investigated how tailored garment were accepted and developed in India where the traditional costumes, such as Sari and Dhothi, excluding the tailored process, were mainly worn. It is suspected that pants and coats were first introduced during the Kushan Dynasty but they scarcely influenced on the costumes of India. In the 7th Century when Islam made its entrance in India, pants and coats were not accepted in India due to the exclusive attitudes of Indians, Hindu. Pants and coats were worn locally as Indian costumes through the Islamic Mughul Empire in the 16th Century. During that period, the cultural exchange between Islam and Hindu made the change of the clothes of India reflected the mixing of Islamic and Hindu elements. The colonization of India by Great Britain that was the turning point for diverse kinds of tailored garment in the costume history of India inasmuch as western elements were introduced. The western style tailored method and design changed the appearance of Indian pants into slimmer style. The style spread and influenced on the design of indian clothes greatly; hence, western style shirts and coats were accepted in India.

• Journal of the Korean Home Economics Association
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• v.45 no.1
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• pp.111-125
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• 2007

By examining the existing Galot products in the market, we aimed to discover areas for new development and lay out the foundational system for establishing a database(DB) of their pattern grading. For the analysis, the team focused mainly on Galot in forms of casual korean traditional clothes, since they have the largest market share. The main accomplishments from this research are as follows. First, because adult females are the largest segment to consider in deciding the size system for grading, we selected three sizes that have to be compatible with the KS Clothing Standardized Sizing. Second, for basic pattern grading, we applied the reference size indicated in KS Clothing Standardized Size, and also used half dart sloper and dartless sloper. Third, we categorized designs according to the presence or absence of a dart, the structure of closure, and the shape of the sleeve and neck. We indicated the grading points with numbers and body area in Korean to make it easier for the users to understand when using the computer system and doing manual work. To further increase the user convenience, we provided diagrams for categorized designs, pattern grading layout, and a table for calculated grading points variation.

• Fashion, Industry and Education
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• v.16 no.1
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• pp.56-69
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• 2018

Tuban area in East Java, Indonesia, has a role as one of international ancient trading ports since 11th century. For that role, Tuban has accepted many foreign cultures that are brought by other nations, such as Tionghoa and Gujarat. The improvement of Tuban that involves international relationship clearly influences the forms of tradition and culture that is shown in Tuban nowadays. It is believed that from those tradition and cultures owned by people of Tuban, producing cloth is one of the oldest tradition maintained by the people. Those clothes, as one of traditional products, have unique identity that differ them to other regions. It is because the uniqueness of people's knowledge about cosmology concept, and skill owned by the people that passes through generations. This research explains the condition of traditional cloth tradition of Tuban society with fundamental ground data and explains elements that intervenes the tradition, and forms resulted from it.

• Journal of Korean Home Economics Education Association
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• v.4 no.1
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• pp.87-95
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• 1992

The purpose of this study is to suggest how we can get over the difficulties of practical drill under experimentation concerning the units of making clothes in the curriculum of home economics. The import of this study was based on the results of the preceding studies the field of the making Korean clothes, from the standpoint of the teaching tools and teaching materials by the use of VTR, is one of the most insufficient. On the one hand, the teaching procedure here a VTR, running 34 minutes or so, was made up with the process of making Korean men’s slacks, and was led by the researcher’s own. The contents of the lesson are as follows： the shape of Korean clothes, the name of each part, the process of drawing, cutting and sewing, and the items of evaluation and arrangement. On the other hand, the two comparative groups were made to compare one with the other： One group was taught by help of VTR media, and the other by the model performance and explanation of the instructor’s own. All of the statistical data were analyzed in terms of SPSS/PC, and t-verification was made, to make difference between the two, after standard deviation was calculated according to the classified domains. The consequences of the test research are shown as below： 1. The difference of understanding was obviously made in considering that the group made a better score than the comparative one in understanding to process of making Korean clothes. 2. The difference of skill was highly made in considering that the group made a better score than the comparative one in the practical drill of making Korean clothes. 3. The difference of interests was evidentally made in considering that the group made a better score than the comparative one in the stage of making Koran clothes. Such means that the motivation and attitude of the learners was made stimulate by the Audio-Visual material than by the traditional cramming method. 4. The difference of frequency was fairly made in considering that the experimeatal group made a better score than the comparative one in the frequency of individual teaching. 5. The difference of the efficiency of time-consumption was clearly made in considering that the experimental group made a better score than the comparative one. As the results of the research above, the medium of VTR proved to more effective to the achievement of schoolwork and the strategies of teaching. Therefore, more use of VTR media will help the instructors with the difficulties of practical drill in the whole process of making Korean clothes； Widely use of VTR media in teaching will be surely more fruitfull to the unit of making Korean clothes than teaching by explanation.

• Journal of the Korean Society of Costume
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• v.12
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• pp.9-23
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• 1988

This study is on the costumes for Korean traditional play, Nong-ak(farm music), and intends to analyze their aesthetic features, laying emphasis on Pilbong Nong-ak, Im sil, Chollanam-do. About its origin there are many kinds of theories; for example, the theory of hoping stability, the theory of it being related with Buddhism, the theory of martial music, etc. Shamanic, Buddhist, and martical fators that support these theories are expressed through flags, bells, drums, Deograe (half-coats), Cheonrips (sang-mo, felf hats), go-kkals(peaked hats), colored lines called 'ga-sa', which are used in Nong-ak. The characteristic of the costumes used in Pilbong Nong-ak is that it keeps its conservativeness and the costumes of its members are various and splendid. For example, leader groups' black half coats, Changbu's and Hwa-dong's red and bule over coats are remarkable. Particpants wear gok-kal or cheonrip, trousers and half coats which are the basic costumes of Korean Hanbok, and wear blak half coats or blue vests and put blue, red, and yellow lines around them. The colors and knotting methods of those lines in this region are the same with those of chollawoo-do and Kyongi province, but different form those of Kongwon and Kyong-sang province using green, red, and yellow colors. This comparison of colors shows each region's preference of peculiar colors and those colors coincide with colors used in flags. The research on the aesthetic characteristics of Nong-ak clothes through each region's clothes tells us that these can be linear clothes which have expressiveness as stage clothes used in Madangori, the play which is performed in the field, and modern spatial formativeness. Those characteristics are as follows; 1. The expressions of a rhythmical and daring round line by turning a long line of sang-mo. 2. Various rhythms according to the attaching methods. 3. The expressions of thick, simple, and daring color lines. 4. Natural beauty of materials. 5. The popular simplicity and non-technicality 6. The beauty of five-direction colors, Oriental ideal colors Consequently in this study our national consciousness of beauty are examined through clothes. It is suggested that the aesthetic characteristics of Nong-ak clothes and ornaments should be effectively expressed, for this purpose. interests in participants' clothes should be increased in order to prevent the confusion of each region's features. Also it is necessary to improve color lines, their length, width, and knotting methods, and beautify instrument. Finally this study intends to bring the reappraisal about the art of Nong-ak clothes and its re-establishment in view of modern aesthetic consciousness.

• The Research Journal of the Costume Culture
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• v.10 no.3
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• pp.283-292
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• 2002

This study is to examine the costume and features in Asuka period and the results are as follows. Asuka period is the time that the country loader positively imported the continental civilization, founded a new country organization in political society and accepted Buddhism and exerted his best passion for its thriving. As the result of examining the costume and features of Asuka period when the requirement for accepting the foreign culture was met via the present costume regulation and relics material, it was found that the costume had a considerable difference between of the ruling classes with government official and noble as the center and the common people. As for the costume of the ruling-classed official and noble, Korean and Chinese costume regulation was introduced, court dress, ceremonial dress, and uniform were dressed. The composition of costume with introduction of new clothes including Wio, Baedang, Seup, Pil, Kyongsang, for the ruling classes was diversified as well. As the result of looking the clothes for the present ruling classes via the existing and the contemporary relics, it was found that the clothes consisted of Eui and Gon or Eui and Sang style in principle and Po with Banryung or Sooryung was worn over what. However, for the common people, mainly man wore Eui and Gon and woman Eui and Sang, which was the traditional costume style in the ancient tomb days.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.65-73
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• 2006

Lots of audience turn their eyes upon musical to satisfy various cultural desire. It is popular culture that was watched in culture contents industry. The stage costume which turn audience's eyes in musical the most is the sight art of stage to express visually actor(actress)'s personality, mental state, administrative position, age and the distinction of sex. This study researches designed stage costume which was based on time backgrounds and historical facts of reinvented clothes and its ornaments in Egypt by 'Sonia Rykiel' through musical, 'ten commandments' with special times. We collected home and abroad documentary records, Internet data. Moreover we viewed performance to analyze stage costume and brochure photograph data to study. In consequence the stage costume of musical 'ten commandments' found its way out of traditional clothes and its ornaments largely. We can recognize the stage costume as the most important part in drama by explaining the content on drama as costume through reinvented shape with modern sense and by taking charge of the principal part to lead atmosphere. In addition, thanks to the creative work of designer for stage costume, we can realize important intermediation to make higher artistic value of musical.