• Journal of the Korean Society of Costume
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• v.35
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• pp.281-292
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• 1997

Tatan is a symbol of kinship and belonging in Scotland and a badge of identity recognized all over the world. Alongside the powerful historical and national resonance to Tartan for Scots it has been borrowed repeatedly by fashion. The pattern compositionof Tartan check is formed as a typical cross stripes that vertical line and hrizontal line meets rectangulary. And its color is much various and rich than other check pattern. So its magnificient spec-tacle that various all kinds of colors is dyed in cloth is second to name. Today we are as likely to meet tartan in a couturier dress as in a kilt or plaid. Tartan is distinctive in colour style and de-sign. It conveys personality ceremony and drama. All these aspects of its character have contributed to tartan being one of the best-known and best-loved fabrics in the world. In other parts of Europe traditional checked patterns declined and disappeared but in Scotland tartan survived strongly jist as the bagpipes also European flourished Due to geographical and cultural circumstances Scots were able to develop and enhance tartan and its remarkable individuality ensured its sur-vival in spite of adverse political and economic pressures. Tartan has been adopted as the national dress of all Scots. Lowland and High-land providing a powerful form of national cultural and personal identity. Whether tra-ditional or a recent creation whether tra-ditional or a recent creation whether a symbol of nationality or a substitute for nationhood tartan is no mean achievement.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.111-126
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• 2001

This study concentrates on the relationship between the early 20th century italian artists and their works in the field of clothing design. They advocated the creation of art for life and introduced a new type of work of art which I will call 'experimental clothing for art'. The experimental clothing for art showed its dynamic characteristics in the field s of line and form, color, pattern, and material. The Italian artists made simple and functionalistic dresses, using asymmetric, geometric cuts. in pattern making. They employed dynamic patterns in textile design and favored brilliant colors which they debunked as storage and traditional. With regard to material, they used unusual materials such as metal, net, wire, and paper and inexpensive materials. To investigations of the visual expression of experimental clothing for art in Italy have led us to the internal expressions which are avant-garde, dynamic & speed, functionality & popularity, ephemeral & transformable, and warlike. As a result of the reflection of the times and the artists's will and roles the experimental clothing for art in Italy implicated contemporary clothing in the early twentieth century and it was only laboratory art that underwent various experiments in canvas but a model of efforts for the at of living, which was anti-traditional. It offered a new future and created a new environment. It is left for future research how the experimental clothing for art developed in countries other than Italian.

• The Research Journal of the Costume Culture
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• v.2 no.1
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• pp.55-76
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• 1994

The purpose of this study was to analyze the classification and meaning of symbols, of the clothes of the college students by sex-roll theory and identity theory. The clothes analyzed in this study were collected by photographs which were taken in the campus (240 out of 1,000 pictures) of the several colleges and universities in Seoul form fall in 1993 to summer in 1994. The results were as follow : 1. Analysis as a symbol of sexuality. The phenomenon of the visual inconsistency and consistency of sexual image in dress were showed simultaneously. The clothes of male students were generally becoming feminine style in materials and colors of clothes. These suggested that sex-roll theory be applied to their clothes. 2. Analysis as symbols of identification or individuality. The identification of shoes, bags, accessories, and hair styles were prominent than that of clothes. When it was analyzed as a symbol of individuality, the college students seemed to act as fashion leaders, who accepted new fashions and tried them on first. These suggested that Erikson′s theory on identity be applied to their clothes. 3. Analysis as a symbol of emblem. The dissimilarities of between the college students and other groups in the same generation were bright and casual attire with files, books, and sack. 4. Analysis as a symbol of campus ceremony. The clothes of college students on campus ceremonies were more causal and flexible than those of other groups in the same generation. It was known that the symbols showed above were reflected on their clothes as "one′s expressions" which are sex-roll, identity, and characteristics of college students.

• Journal of the Korean Society of Costume
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• v.35
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• pp.293-304
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamono-katary$\boxUl$This book is a novel de-scribed the Royal Court from 883 till 1107. In this book many kinds of Garments Orna-ments Colors and Materials were mentioned. But in this paper 69 kinds of Garments and Ornaments were reserched and the rest will be reported in the next paper, The discoveries of this paper were as follows. 1. All the things of this book were reflections of the reality in Heian period. 2. The main styling of that period was a little bit soft but the straight silhouette were fashioned, . In that time Clothing had a special meaning and the manner for a fashion was very important, .3 In the female garments Karakoromo were developed many kinds of pattern by dyeing method, Especially the Surizome was fashioned very much. 4. there were many kinds of gray tone like as clerical robe and mouning dress. This was the effection of Buddism style. 5. The decoration of fablics and garments were usualized for instance smooding and luster by beating and starch sewuing a piece of gold silver and shell nakabe and knot bend. Shawl Yumaki and Kosizasi was a charming point of that time, . 6, hair decoration shose parasol rain coat etc, . were developed and use freuently.

• International Journal of Costume and Fashion
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• v.3
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• pp.1-11
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• 2003

This study aims to recognize the value of traditional culture and to create 'Korean style rest costume' i.e. in-door clothes for comfort's purpose designed for hotel or other tourist accommodations with its own image. In so doing, national pride and identity will be exalted for Koreans, while an opportunity of cultural expose will be provided for foreigners through the symbols of Korea, which will contribute to the international introduction and representation of Korea. First, this study investigates the external characteristics in forms and structures of Korean style rest costume. Second, questionnaires regarding consciousness of Korean style rest costume and preference in design are distributed to the hotel guest and staff-both domestic and international- to be fir out. Lastly, designed rest costume representing Korean image, based on the results of the survey. Upon investigation, users and employers both preferred two piece style which is separated to upper garment and lower garment. While employers preferred short sleeve, users preferred long sleeves. In colors, employers preferred blue while users preferred white. In garments, both of. the employers and users preferred cotton, towel and cotton flannel. In addition, when introducing rest costume, it will be efficient to distinct the strategy between natives and foreigners, and also distinguish where the rest costume will be used.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.87-96
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• 2009

Dangui is a formal dress of the wives of high officers and royalty in Chosun Dynasty and it was worn as a day dress in palace and a semi-ceremonial dress in upper-class households. Among the remains of Dangui a double-layered Dangui was found in which two sets of Dangui were combined to be worn as a single piece. The double-layered Dangui consists of an Over-Dangui and an Under-Dangui. The results of the examination of the remains for the Over-Dangui are as follows. As lone as the colors of the remains are identifiable, all of the Over-Dangui were green, whereas the Under-Dangui and lining materials were red. The textile was mostly in woven silk with pattern and it was frequently decorated with golden wefts or foils. A breast embroidery with phoenix and a dragon embroidery were also found. Such Dangui was worn mostly by the high members of the king's palace including the queen, crown princess, bastard princess, and monarch. There were two exceptions of wearing Dangui outside the king's palace. A simple Under-Dangui was made to enable a comfort fit of the two sets of Dangui and the suture was partially sewn. With three doth strings and cuffs, two pieces of Dangui were eventually assembled into one piece of clothing. Differences between the remains and the documents were also found in regards to textile and wearers of Dangui.

• Journal of the Korean Home Economics Association
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• v.39 no.5
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• pp.89-105
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• 2001

This study on Jeung San Kyo, one of Korea's new religions, considered the name, kind, form, color and the thoughts of ritual dress which is involved in 15 religious blanches acting currently according to books and the actual research. The following is below. 1 Each names of ritual dresses called rigious branches are Bob Bok(법복), Doh Bok(도복), Yeah Bok(예복) and Jea Bok(제복). 2 In most religious blanches, ritual dress is the Korean cloths which Poh is wear above and Kwan is put on, and the form of Poh(포) is the similar with Durumagi(두루마기), Danryungpoh(단령포), Jungchimak(중치막), Jikryungpoh(직령포) etc, but not the form of Git, Moo and Yiohmim. Kwanmoh is named Chill-Chung-Kwan(칠층관), Yiun-Hwa-Kwan(연화관), Yiun-Kwan(연관), In-Hwa-Kwan(인화관), Tong-Chon-Kwan(통천관) etc. 3. In most religious orders but Dae Suun Jin Li Hueay(대순진리회), Jeung San Doe Jang(증산도장), Colors are used, white, lightblue, and yellow is used in Jeung San Pop Jong Kyo(증산법종교), Dong Doe Pop Jong Gyum Gang Doe(동도법 종금강도). White color means the mind of a people tradition, and light blue expresses an Oriental nation, namely, “Korea”, and is the color representing Jeung San Kyo, and yellow shows the central religion in the future. 4. Jeung San Kyo ceremony fashion reflects the ideologies of the principal role, the Um and Yang-five elements, and, nationalism according to form, color.

• Textile Coloration and Finishing
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• v.29 no.4
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• pp.276-283
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• 2017

The aim of this study is to develop an effective dyeing process for black color on the silk fabrics, using natural Indigo, Madder, Amur cork tree, Alder, Logwood, and Gallnut. All natural dye materials were water-extracted, concentrated, and freeze-dried. Seven different processes were carried out and the color differences(${\Delta}E$) of black color with each process from the chemical black dyed fabric were compared. The light, washing, and rubbing fastness were evaluated. The black dyeing of the silk fabrics was well carried and excellent black color was obtained in every methods. The profound black color could be obtained by the subtractive mixture of the three primary colors of red, yellow, and blue in the order of indigo(blue) - amur cork tree(yellow) - madder or lac(red). Black color was efficiently obtained by iron mordant when logwood or alder fruit was used. The color difference(${\Delta}E$) from the black color with chemical dyestuff was the lowest in the indigo - amur cork tree - lac - iron method. Light fastness and washing fastness were excellent in all dyeing processes, showing grade 5. The fastness to rubbing was excellent as shown grade 5 in the dry samples of logwood - iron process and alder fruit - iron process.

• The Research Journal of the Costume Culture
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• v.13 no.3 s.56
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• pp.425-438
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• 2005

This study is to examine the types of expression and aesthetic characteristics of on-line game characters by analyzing those game characters' body and their costume that appear in various domestic on-line game sites. It is shown in this study that types of the human bodies and costume expressed through the game characters are grouped into five categories such as exposure and tightness, enlargement and exaggeration, curtailment and simplification, gender stereotype and unification. Furthermore, there are four typical aesthetic characteristics resulting from those types of expressions; First, 'grotesque' is expressed in the form of extreme enlargement and exaggeration, extreme exposure and concealment, combined images among human, animal or machine, or monstrous devilish images. Second, in an effort to express 'eroticism', bodies are directly exposed, see-through costumes are used in order to emphasize the body lines or very tight designs are used. Third, 'futuristic' characteristics are shown through geometrical shape and silhouette, machine-like details, strong artificial colors or glossy hi-tech material. Lastly, 'pastiche' is expressed with reconciliation of variety of costumes of game characters. Various opposite or heterogeneous styles are combined or harmonized each other to show pastiche, of which examples are male and female, superior culture and inferior one, rich and poor, oriental and western, human and machine, human and nature or past and future, etc.

• Journal of the Korean Home Economics Association
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• v.43 no.1 s.203
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• pp.167-176
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• 2005

This study was intended to investigate the wearing conditions of shirts, and examine the preferred subjective sensation for shirt fabrics. A questionnaire survey was conducted on 469 university students (male students $45.3\%$, female students $54.7\%$) in the Cheongju area, Korea. Frequency, descriptive analysis, $\x^2$ and t-tests were used for data analysis. The results were as follows: Regardless of gender, most owned 4 shirts in the autumn, which were each worn once or twice week. Generally, patterned shirts were less favored than those with solid colors, regardless of gender, but the color of the shirts differed slightly according to gender. Most students gathered items from those displayed in the store as their source of information on shirts, and tended to purchase items worth $30,000\~50,000$ won at franchised stores with friends of the same gender. They almost always looked carefully at the size and brand, but the care label and fiber content were rather neglected during the purchase. While purchasing their shirts, the following elements were considered, in this order of importance: size; color; fitness; comfort; price; tactile sensation. Light, dense, soft, warm, wrinkle-free, dry and strong sensation of the shirt fabrics were the strongest preferences for a purchase. There were partially significant gender differences in the subjective sensation of shirt fabrics.