• Journal of Science of Art and Design
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• v.2
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• pp.90-127
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• 2000

The Paper aims to survey and analyze the meaning 'Absence of body' from clothes as non-verbal communication medium. Two types of absence of body from clothes are clothes as object because of removing body, and flattened colthes to deny the body form. In results of analysis, 1)the confrontation of male/female was represented by positive/negative, active/passive, present/absent. 2) male/female means social/private, body/clothing, relevant/irrelevant, subjective/additive. 3) one/numbers, simple/various, limited/free present the various way of waering. 4) tradition/contemporary is expressed by materials 5) enlarged clothes expresses the cynical attitude about body 6) inside/outside , one dress/layered dress suggest new concept to wear against traditional way of wearing.

• Fashion & Textile Research Journal
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• v.22 no.4
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• pp.446-455
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• 2020

In order to develop high value fashion culture products capable of reaching the global market, this study developed the original traditional clothing design of Northeast Asian countries according to a global perspective. This study applied the structural formality of traditional clothing to fashion cultural products. This study developed designs using Deel of Mongolia, Makap of China Korean Dang-ui / Dan-ryung, and Haori of Japan. The research methods are theoretically examined using literature on traditional clothing in Northeast Asia. First, it designed a shirt design using Adobe Illustrator CS6 and created a pattern with the Yuka program as well as applied CLO 5.0 (a 3D virtual dressing system from CLO Virtual Fashion Co.). A survey was also conducted on individual interest for the developed fashion cultural products. The design method obtained various design effects by applying the method of adding point detail parts of the clothes to the shirt that represented each country among their traditional clothes. This research can be used as basic data for the global fashion cultural products market that can contribute to maintaining the originality of each country in the global era, expanding tourism income to succeed and develop culture and tradition.

• Fashion & Textile Research Journal
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• v.17 no.5
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• pp.793-799
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• 2015

Hanboks have evolved throughout time; for example, the curved Barae has changed into a more modern and sophisticated straight one. The development of staining techniques has increased color selections with more luxurious designs. I suggested a design of Dolbok that considers functionality, practicality and economic feasibility through a comparison of past and present designs. I suggested a fusion Hanbok based on a traditional Dolbok for baby boys and girls. An abundance of cheap resources has decreased the tradition of hand down clothes; therefore, I created functional and economic methods to adjust a Hanbok for kids to wear a long time. First, I made it possible to adjust the length of a skirt by a slip stitch (or catch) stitch with a Seurandan (ornate lower band) and placed the button on shoulder part of the skirt for baby girls. The width of skirt is designed for a 4 year old instead of 1 year old to adjust the size and compensate for growing kids; however, the clothes still look stylish despite the overlapped area. Second, I made a baby boy's vest with a belt that follows traditional methods that were comfortable for width variation. Third, I made Geodeulji (sleeve-ends trimmed with wide bias) that enabled long or short sleeves. Geodeulji made with a variety of fabric colors will enhance the decorative effect. Fourth, I made the width of clothes adjustable by putting Korum (tie) ON Jeogori for baby boys and girls. There are many studies on Hanboks but few reports on modern Dolbok. I believe that designers should further study fusion Hanboks within framework of traditional Hanbok designs to increase comfort and appeal.

• Fashion & Textile Research Journal
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• v.7 no.2
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• pp.135-142
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• 2005

Through the formative analysis of the traditional jokakbo, we have composed surface composition that was made by a perfect square, triangle, a weather vane type, vertical type, cint$\tilde{a}$mani type, and a mixed rectangular. And we have composed that was made by vivid tone, pale tone, and so on, and finally analyzed image, preference rate of them. First, the cause of composition for the image of stimulant was composed by the cause of simplicity characteristics, interesting characteristics, rigid-flexibility characteristics, and modern characteristics. Secondly, the image of clothes was revealed as a simple image of perfect square, a feminine image of cint$\tilde{a}$mani type, a modern image of mixed rectangular in the case of large pattern. And in the case of small pattern, perfect square was revealed as a simple image, cint$\tilde{a}$mani type was revealed as a feminine image, triangle with achromatic colored weather vane type and pale tone was revealed as an interesting image, achromatic colored and pale toned a weather vane type, vivid toned vertical type was revealed as a modern image. Lastly, it revealed that the preference rate against clothes is related with the cause of simplicity characteristics, interesting characteristics, and rigid-flexibility characteristics in the case of large patterns, and especially in the case of large patterns and small patterns, the clothes of pale tone are more preferred. And achromatic colored mixed rectangular and chromatic colored cint$\tilde{a}$mani type are more preferred by the large patterns, and chromatic colored and pale toned weather vane type is more preferred by the small patterns.

• Journal of the Korean Home Economics Association
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• v.23 no.3
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• pp.27-38
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• 1985

In KOREA, the history of weaving is so long even in prinitive, there are the traces of fabric emmision using Spindle already in the Neolithic age. And coming up to the period of Three States, becoming active of cultivation of fibers, it can be known the variety of kinds and the production of fine products by improvement of new method of weaving using weaving machine. In the period of shilla state, there is a record of making the fine fabrics with 28 bracts. But wearing of silks fabrics was limitted for only the nobility and common people were wearing native thick hemp clothes. Also in the period of Korea state, they were wearing the hemp clothes by cultivation of hemp. The good quality products were worn by the King or the nobility and women in KOREA made their best with whole efforts to pay to the authorities with woven products of hemp clothes, so in the 14th year of King Chung- Ryul, King prohibited the presentation of fine hemp clothes by his order. By the end of KOREA state, before the production, common people was mainly wearing the hemp clothes. Coming up to the Kingdom of Chosun the sericulture was promoted by establishment of the sericulture encouraging low. Therefore the working hours of women were highly increased. The products of Song-do, Chin-ju for cotton clothes, those of Han-san-the same now as in old times-for ramie clothes, those of Han-Kyung province and An-dong for hemp fabrics were estimated as the best qualities. And the hemp clothes of Kang-won province is not so fine but is very useful and famous for mourning clothes and summer clothes for the farmer. It is true that our history of weaving was begun with hemp as a continous and precious friend of common people during all the historical periods-even though for a while it went backward because of chinese silks.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.8
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• pp.1131-1138
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• 1999

The objective of this study was to investigate the relationship between women's clothing westernization and the economic development in Korea. The data were obtained for the Korean women's clothes and analyzed by the linear regression method. The results were as follows: First western clothing style was adopted first for the street wear and then for the casual home wear. Second the per capita GNP as a proxy of the economic development was shown to affect the weaternization of Korean women's clothing significantly. The Korean treditional clothing was disappeared as the per capita income went up. These results support previous anthropological studies on the westernization and the economic development following industrialization. Also this quantitative study shows one way to prove Bell's hypothesis and will be of use to the economists as well as the clothing researchers.

• The monthly packaging world
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• s.125
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• pp.136-145
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• 2003

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.946-955
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• 1997

The purpose of this study is to present the aesthetic values of the Korean traditional costume for developing 'Korean' fashion design can be accepted in general in the modern times. For this purpose, documentary studies about the aesthetic values of the Korean traditional art and Korean traditional costume were preceded. And the perception of the Korean traditional costume were studied according to Belong's two criteria, body priority/ clothes priority and open/closed. Next, the aesthetic values of the Korean traditional costume were re-defined. The results can be summarized as follows; 1) The aesthetic values of the Korean traditional art are the beauty of nature, the purity, and the pleasantry. As the beauty of nature is the important one, the purity is caused by the love of nature. The pleasantry is as a way of expression. 2) The aesthetic values of the Korean traditional costume through the documentary studies stand for as the beauty of nature, the purity, the beauty of evil's eye, the beauty of symbolism, the beauty of personality, the beauty of tragedy and the beauty of tradition. 3) Korean traditional costume are perceived as clothes priority and open. 4) The aesthetic values of the Korean traditional costume can be re-defined as the beauty of nature, the purity, and the pleasantry. The beauty of nature comes from the 'natural' look, the exposure of the fabric as itself and the organic lines of the Korean traditional costume. The purity comes from the geometrical squared clothing form of Korean traditional costume which doesn't revive the human body form. The Pleasantry is seen the colors and motifs of costumes that have the human's hope and incantation and the exaggeration and distortion of human body form.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.