• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• Journal of Korean Home Economics Education Association
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• v.23 no.3
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• pp.19-36
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• 2011

We investigated middle school students' awareness of Han-style(Korean cuture) in order to promote it, and developed and applied the Teaching-Learning Lesson Plan according to the traditional clothing culture contents related to Han Style. We selected 5 major fields representing Han Style including Han-gul(Korean alphabet). Han-sik(Korean food). Han-bok(Korean traditional clothes). Han-ji(Korean traditional paper), and Han-ok(Korean traditional house). We analyzed the contents of the food, clothing and shelter in 6 types of high school testbooks under the revised 7th national curriculum, and chose seven traditional clothing-lifestyle culture contents. Also we developed 14-period processes and materials(9 for teachers. 9 for students and 3 for and applied it to usual classes. The mean score of middle school students' awareness of Han Style in the post-test was significantly higher than that in the pre-test. Students evaluated it positively that the classes could raise the pride on the Han-culture and provoke the interest in it through the direct experiencing activities. We suggest that the various themes on Han-style should be developed, and the theoretical classes on the identity as well as the experiencing activities on it.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.15-30
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• 2017

The purpose of this study is to analyze the formative characteristics of Hanbok among youngsters based on SNS proof shots, identify new characteristics of Hanbok as part of play and travel rather than as formal Hanbok, and provide information for the Hanbok market. As research methodology, our search was carried out by using '#Hanbok Travel' as the search word in Instagram, where the Hanbok proof shot phenomenon is actively under way. A total of 535 posts from March 21, 2016 to April 1, 2016 were selected as objects of this study, excluding posts containing Hanbok with indiscernible shape, Korean traditional costume manufacturers' promotional posts, and repetitive posts by one person. First, the 535 posts were analyzed by season, region, number of people, and gender, and after men's data were excluded, 644 Hanboks were left for analysis. Their formative characteristics were analyzed by using SPSS 21.0. The results showed that the formative characteristics of Hanbok shown in SNS proof shots included diversification of length in jeogori(Korean traditional jacket), skirt, and sleeve, use of pragmatic material and achromatic color, and reduced use of decorative technique. Hanboks shown in the Hanbok proof shots should be considered as significant data because each shots show clothes selected and worn directly by user's side, unlike the existing studies centering on Hanbok designers' works.

• Journal of the Korean Society of Food Culture
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• v.13 no.4
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• pp.241-260
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• 1998

1. Both the festival held in Confucian temple to honor Confucius or a religious ceremony in Korean traditional lecture-hall are the sacrificial rituals which is the mark of the respect for prescholars and these rituals has been followed the rules written in the book,'Yaegi' 2. For the Food formal display for the festival in Confusian temple of Chinese Gukjagam, Pebak(clothes), Mohyul(hair and blood), and the ritual food dishes, such as Byun 10, Doo 10, Gang 3 (Deung 1, Hyung 2), Bo 2, Cue 2, Jo 3 (Taeraeu as beef dish 1, Soraeu as sheep and pork dishes 2), Joo(alcohol) 3 were displayed, while in Juhyunhak, Byun 8, Doo 8 were displayed. In Taesangji edited around in 1873 in Korea, for the Confucian shrine Pebak, Mohyul, Byun 10, Doo 10, Deung 3, Hyung 3, Bo 2, Cue 2, Jo 6 (raw 3, cooked 3), Joo 3 were displayed. In pedantry Confucian temple, Pebak, Byun 8, Doo 8, Bo 2, Cue 2, Jo 2 (raw sheep and pork), Joo 3 were displayed while Mohyul was omitted, which this type of display was almost identical through the nationwide survery for the Confucian food display. Some of the Confucian food display, most of the display for Bo and Cue have been changed to Bo 1 and Cue 1, and one fifth of the Confucian display for Byun and Doo also has been changed in the numbers and food varieties. 3. In most of the sacrificial ritual food display in the Korean traditional lecture-hall, Pebak (some not applicable), Byun 4, Doo 4, Bo 1, Cue 1, Jo 1 (raw), Joo 1 were displayed. In these days, the number of the Confucian temple where the sacrificial rituals is not held, has been increased. 4. For the names of food for the Byun and Doo dishes, mostly the old names are used, however, minor changes in materials and cooking method have been found.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.748-761
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• 2008

This study was initiated out of necessity to inquire into the trend of costume regulation between the mid-15th century and mid-17th century, and what influence the change of dress and its ornaments had on the people at the time. As for the resources this study was based on, the True Record of Joseon Dynasty, which was the historical record of official compilation, was used as basic material, and the excavated relics at the time were referred to. The forbidden dress and ornaments mentioned in the records from the time of King Seonjong to the time of King Hyeonjong were classified into textiles, clothes, ornaments and dresses, according to the objects. It was designed to identify the laws and ordinances or regulations enacted by the state and the contents of discussions, which were caused by the extensive consumption of silk gauze and fabrics and the luxury in dress and ornaments, and the phenomenon induced by the consumption desire of the social class with economic power, and to help understand the cause. So to speak, the law and ordinance or regulations were established to solve the social problems caused by the failure in controlling dress and ornaments wearing based on social position, during the process in which the king and court officials were making effort to intensify their political power in each regime.

• Journal of Families and Better Life
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• v.28 no.3
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• pp.27-41
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• 2010

In this study, based on the current curriculum of consumer education in high school with the advent of Web 2.0 age, I analyzed both the curriculum used by new information tools related with Web 2.0 age and the one used by traditional tools to find out the degree of necessity of consumer education for the high school students in proportion to the level of their informational ability. First, compared with the education of food, clothes and shelter in the curriculum of manual training and domestic science, the necessity, importance, and availability were low and the students had a lower level of interest than they had with the three factors mentioned above. Second, after dividing the sector of consumer education in the curriculum into three fields such as reasonable purchase and use, solution and prevention of consumer problems and forming a new consumer trend, I looked into the necessity of the teaching method using conventional tools and the one using new informational tools following Web 2.0 age respectively. Traditional tools were favored for the education of consumption-related laws and policies, consumers' rights for the general cause of consumer problem solving and preventing. For the generation of the new comsumer trend, the new information tools were preferred in the appreciation of consuming culture and the issues of consuming environment. Third, it was revealed that students' level of informational ethics was the highest at 5.55 while their level of information creation and processing was the lowest at 3.96 from the research of six categories of their informational ability.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.89-100
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• 2010

This study is intended to analyze current status of costume in the cultural industry and explore feasibility of integrating costume as important cultural contents in the digital era. Among the websites for contents as the cultural archetypes, some have strong foundations while others don't. First, as for various archetypal characters restored based on the Korean history, most of their clothes focus on shapes and colors but lack details. They should be produced in 3D to provide back views or textile patterns to users. To ease understanding of the history of costume, user-friendly services such as launch of a pop-up window when users click on specific contents in question should be available for detailed information. At least there should be a link to other related sites where users can conveniently find more details. Second, some sites have too much data under one subject, increasing complexity and undermining orderliness. As a result, it takes long time to identify the site map. In this case, it is required to rearrange the contents with Quick View by subject and related links for in-depth study. Third, each subject is important to develop the archetypes for a variety of purposes. Creation of design derived from them or their commercialization can be an example but these activities should not restrict imagination of users or degrade the value of the archetypes. Last, it is needed to adopt validation system to detect the needs for a regular update (renewal) and to fix errors. We found many servers whose operation is not stable in general. When these technical issues are addressed for stable operation, users will rely on the sites to utilize them for their purpose of developing the cultural archetypes. In conclusion, advancement of www.culturecontent.com is essential. Based on efficient management and operation of the system, the quality of contents would be increased and multi-faceted advertising campaigns focusing on needs should be launched, to promote application of the contents. This is the recommendation for the future of the cultural archetype industry in Korea.