• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.98-98
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• 2001

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.164-165
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• 2005

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.11a
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• pp.78-81
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• 1995

• Journal of the Korean Society of Costume
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• v.1
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.728-738
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• 2006

As movies and dramas which show traditional clothes and fusion clothes are getting popular these days, lot of people are paying attention to these dress and ornaments. And as for the domestic collections which seem to reflect this trend, various fusion style clothes are getting widely adopted by people. Therefore, this study analyzed and considered the clothes designs when the country started to open itself to other countries, by selecting a movie titled "YMCA baseball team", a movie to ascertain vigorous historical verification, and by conducting the prior study and using the DVD capture program. This study is meaningful in that based on the comparison study on the costumes, it clarifies the degree of costumes(clothes) acceptance at the point of nation's opening to other countries, which is the source of fusion style, and further shed light on the role that the movie costumes will play. From this study, we can get the following conclusions. First, through the theoretical background it can be known that when the country opened itself to outside world the dress and ornaments of the time was adopted in a top-down way, namely, first adopted by the royal family and the upper class, which could have easy access to the western civilization and institutions, and then the low class later. Second, in the movie titled 'YMCA baseball team' the costumes were designed through the strict and thorough historic verification, and it can be confirmed that various dress and ornaments adopted at the time of nation's opening to the outside world centered around the clothes design for new women. Third, 'YMCA baseball team is evaluated as a movie that reproduces that time well and as a media that provides an effective clue to the dress and ornaments adopted by the public when the country opened itself to the outside world.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.119-130
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• 2004

The purpose of this study was to analyze the characteristics of 1980s' oversize fashion. Especially in 1980s, there were some characteristics that the leading style did not exist as the other decades, but instead of that, various styles coexisted and the existing traditional rule of fashion was destroyed. On the basis of such background, the moulding nature resident in oversize fashion is considered and analyzed as follows. Firstly, 1980s is the time of power suit booming and through such clothes, women disclosed their consciousness that they want to be equal with men. Secondly, In contrast to that a shoulder pad was the trademark of 1980s' clothes, the social aspect that Japanese designers' clothes of layered look and them of grunge look coexisted is directly expressed through these oversize clothes. Thirdly, In 1980s of the time that people's interest to health risen, sports wear was developed to be everyday wear and furthermore, it had variously influences on high fashion so that developed to big look. Fourthly, when it comes to 1980s' clothes, the atmosphere of society denying apparent boundary between sex at that time was resident in androgynous look and the folklore image of sexless style by their appearance in oversize fashion. What is this situation that the style of the past time is popular in the 21st century even such intentional spirit of challenge already passed？ Maybe for women, the one way of expressing themselves is through their clothes, and for such reason, it can be considered that the social meaning resident in 1980s' clothes is re-examined in the present age.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.927-934
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• 2014

Today Hanbok, the symbol of our nation's culture, has been preserved as cultural heritage despite natural and social environmental changes over years. This study is analyzing Hanbok which were taken in the National Skills Competition from 2000 to 2013; it presents our traditional stitching methods and clarifies the pride the Hanbok artisans have as inheriting the traditional heritage. Therefore this paper contributes to continuous and proper development of the culture of Hanbok and being loved by many people. The assignments about Hanbok featured in the National Skills Competition were categorized by national and local competition, time required to produce assignments, required amount of fabric, type of stitching, unlined and lined clothes depending on the type of assignment; according to the classification, methods for sewing were analyzed in detail. First, the national tournament presented 12 kinds of sewing techniques; especially hand-sewn stitching method appeared in common. Second, the unlined and lined clothes depending on the type of assignments had applied different sewing methods; double-stitching, flat fell seam, french seam, roll over sewing, blind stitch, right angle blind stitch, decorative saddle stitching, darning, etc. were used. Sewing methods in the 21st century has not changed over the years; the shape of clothes was changed upon trends. Sewing became easier than before by the invention of sewing machine, we should carry on our traditional sewing techniques. Through this analysis on sewing methods of the National Skills Competition, I hope to support competition participants for studying Hanbok and indicate proper sewing techniques.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.133-148
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• 2016

This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.127-139
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• 2009

The purpose of this study is to research the change of Tibet's commercial district following Tibet's globalization(traditional clothing to modern clothing). Tibet's traditional culture is fastly changing for two major reasons: Chinese government's persistent assimilation policy on minority ethnic groups and globalization, a powerful trend worldwide. Therefore this investigation was conducted on the most preeminent feature of life, clothing culture, at capital city Lhasa where modernization is most prominent and fast in Tibet. For this, the first field investigation was conducted between February 5th and 15th, 2007. and the second investgation was between January 16th and 25th, 2008. As a result, the study on clothing globalization in Lhasa, Tibet, reaches the conclusion as follows: Based on such developments, commerce of Lhasa has been modernized, bringing about great change in composition and formation of its commercial district. Stores have been modernized and their service quality has improved. While the number of traditional clothes shops has decreased, various types of modern clothes shops have emerged. Modern clothes stores mostly consist of quality men's wear shops, casual clothing shops targeting those in their 20s, and sportswear shops reflecting global trend. This composition indicates that it is men and younger generation who first adopt new culture emerged through globalization. Tibet's modernization and social development have become an integral part of globalization and public sentiment. Therefore, its modernization will be driven by power and capability of the public, rather than by policy control of the central government.