• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1097-1115
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• 2015

ICT in the IOT era is the core basis of modern society. This study investigated and analyzed the recent commercialization trends of smart fashion products internationally and domestically, to utilize them as the basis of data for developing user-friendly smart fashion products that can meet the needs of consumers. Keyword research using the most representative search engines, Google and Naver was conducted for searching for various wearable items commercialized actively since 2010. The final 78 products were classified by the physical area, and the key features and benefits were analyzed. Smart fashion products were classified as four physical types for the head and face, torso, arms and hands, and ankles and feet. Smart fashion products for each body part were developed in various ways, such as hats, glasses, lenses, virtual screens, earphones, headsets, clothing, watches, wrist bands, gloves, rings, wallets, bags, anklets, shoes, socks, and insoles. The main features were music playback, bluetooth, a camera based on NFC, virtual effects, health and safety protection through measuring heartbeat and momentum, and social network sharing of all kinds of information, based on inter-working with a smartphone. These functions represent the physical, social, and emotional interactions among users and their surroundings, as well as the users, themselves. The research results are expected to be used in future studies on planning user-friendly and marketable products through in-depth analysis of the design characteristics of smart fashion products as well as consumer responses.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• The Korean Journal of Community Living Science
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• v.27 no.2
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• pp.245-263
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• 2016

This study was conducted to investigate the thermoregulatory behavior of young males in terms of self-identified thermal tolerance. We recruited 436 male students from Seoul ($24.0{\pm}4.6yr$ in age, $175.3{\pm}5.5cm$ in height, $70.1{\pm}10.6kg$ in body mass, and $23.0{\pm}2.7$ in BMI) in accordance with four types of self-identified thermal tolerance: 1) tolerable of both cold and heat, BCH (N=15); 2) heat tolerable only, HTO (N=118); 3) cold tolerable only, CTO (N=162); and 4) neither cold nor heat tolerable, NCH (N=141). The questionnaire consisted of 55 questions regarding preference to cold or heat environment, seasonal thermoregulatory behaviors including clothing habits, seasonal sleeping environments, health care/physical fitness, and anthropometric items. The results showed that: 1) BCH preferred less auxiliary heating devices, gloves/hats, or thermal underwear in winter and had very few experiences with cold/heat injuries or catching a cold, whereas NCH showed the opposite behavior and experiences as BCH; 2) thermoregulatory behaviors were not symmetrical between summer and winter. Most male students preferred cold beverage/foods to using cooling devices to lower body temperature in summer, whereas auxiliary heating devices were preferred to warm beverage/foods to maintain body temperature in winter; 3) thermoregulatory behaviors of NCH had more items in common with HTO than CTO, while the behaviors of BCH were more closely related to CTO than the behaviors of BCH were more closely related to CTO than HTO. Overall, we confirmed that thermoregulatory behaviors were apparently classified by self-identified thermal tolerance, and such behaviors could be adjusted by improving cold or heat tolerance.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.12
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• pp.1727-1738
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• 2002

세계화, 국제화, 개방화 시대에 살고 있는 우리가 통과의례나 전통 명절과 같은 특별한 행사에 의례복으로 한복을 애용하는 것은 한복이 한국의 문화적 이미지를 강하게 간직하고 있는 한국적 조형물 중의 하나이기 때문이다. 더우기 의례복은 특별한 행사 자체를 위해 착용되었던 만큼 당시대의 내 적 가치를 가장 현저하게 표출하고 있는 복식으로 인정 할 수 있기 때문이다. 본 연구의 목적은 시대 적으로 현대 전통 한복의 기본 형 식을 제공한 조선시대와 그 이후의 복식 중에서 특히 분명한 착용동기와 목적, 복식을 통해 나타내고자 하는 상징성 등을 함축하고 있는 아동용 의례복을 대상으로 복식의 형태, 색채, 문양, 소재 등의 조형 요소를 고찰하는 것이다. 또한 양식적 특성을 살펴보고, 그러한 조형적 특성을 형성시킨 당시대의 사상적 가치를 추론해 보는 것이다. 구체 적인 연구 방법은 먼저 관련된 문헌 고찰을 통한 이론적 배경을 토대로 하여 아동용 의례복의 범주를 설정하고 현재 보전중인 실물과 또는 사진, 풍속화에 나타난 복식 자료들을 수집하였다. 그리고 당시대의 사상적 배경에 대한 고찰을 병행하여 이들에 내재된 문화적 가치를 추출해 보았다. 연구 결과 양식적 특징으로는 남아의 두루마기나 전복 그리고 쓰개류 등에서 기능성을 고려한 변형적 양식이 나타나고 있었다. 색채 역시 음양 보색이나, 오행색을 바탕으로 한 기본색의 구성 이외 에도 소매나 섶에 응용된 색의 배열이나 맞깃 전복의 깃에 나타난 색의 조화는 다양한 색의 조형미를 표현하고 있었다. 특히 색동 등에 나타난 오행색의 배열, 안감과 겉감, 상의와 하의, 외의와 내의에 사용된 색의 조화는 미의식에 관한 문화적 가치를 추론해 볼 수 있다. 더우기 장식 표현에 주로 쓰인 자연물 문양이나 글자 문양은 당시의 지배 사상이 지향하는 덕목 이외에도 전통적으로 내재된 수명과 복록, 부귀와 영화에 대한 내적 가치들을 반영하는 조형적 상징들이라 할 수 있다. 소재는 비교적 계절을 고려하여 사용되고 있었지만 의례적 성격을 지닌 외의나 쓰개류의 경우 계절적 구분을 고려하지 않은 경우도 많이 나타나고 있었다. 장신구의 경우는 많이 사용되는 것은 아니나 역시 상징적 인 가치를 표현하는 실물들을 미적으로 재구성한 사례들이 나타나고 있었다. 이상의 연구를 통해 아동용 전통 의례복은 형태, 색채, 문양, 소재, 장신구 등에서 양식의 다양성과 변형들을 알 수 있었다. 또한 적극적인 내적 가치의 상징들을 복식을 통해 표현하고 있었음을 알 수 있었다. 현대 복식의 디자인에 있어 아동용 의례복에 나타난 창조적인 양식의 변형과 다양성 그리고 복식을 통한 내적 가치의 반영 등이 현대 사회와 조화를 이룬 실질적인 복식 디자인 제시 및 창작에 작은 영감으로 작용하길 바란다.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Korean Journal of Heritage :History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.