• Journal of Fashion Business
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• v.12 no.6
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• pp.73-80
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• 2008

Since costume comprises organic substances, it hardly sustain to remain long, compared with other historic relics, and it requires some professionalism to preserve and maintain costume remains. Anyway, the fact that there is no professional costume curator working for museums in Korea, except for a few museums, suggests that importance of costume remains as cultural assets has yet to be fully recognized. In such circumstances, this study was aimed at analyzing the problems of costume remains collected at university museums in Seoul and thereupon, providing for some basic data conducive to the researches into costume remains to promote a better understanding and recognition of our own unique costume culture.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.73-87
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• 2003

The custom and shroud for funeral rites of the early 17th Century based on the excavated costume from the grave of Mrs. Jung (1565 - 1614) are studied in this paper. The grave was located in the Pohang, Kyungbuk Province and was excavated in, April 1999. The remains consist of one set of epitaphs, 33 pieces of costume, 7 pieces of cloths, and 14 pieces of funeral accessaries. From these remains, this study newly reveals : 1) a specific funeral custom for the upper class from the fact that her husband, Ja-Hun Ki, was in the position of Prime Minister for the Chosun government when she died, 2) a fact that women also wore a formal dress with round-shaped collar (Dalryoung) and a concubine could use rectangular tablets ((Hyungbae) with peacock pattern according to her husband's rank, 3) a whole set of shroud used for women in the early 17th Century, and 4) specific construction methods for individual shroud.

• 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 Society of Costume
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• v.50 no.6
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• pp.5-20
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• 2000

This paper aims at analysing the formative character of the Korean Shaman's Costume in the area of Hong -Sung, Choong -Nam. Korean shamanism has been the core of the traditional folk religions. so that it has had a great effect upon the formation of Korean's mind and custom. And its magical power remains unabated even today. Modern shamanism in the Hong-Sung area has been changed under the influence of the shamanism in the Seoul-Koungki area. Therefore modern shaman's costume in the Hong-Sung area is similar to shaman's costume in the Seoul-Koungki area. Modern shaman's costume in the Hong-Sung area has only 5 or 6 kinds. These consist of Pulsajangsam, Chulik, Kugunbok, Mongduri and Wonsam. But there are some differences between modern shaman's costume and traditional costume in the formative character, Modern shaman's costume in the Hong-Sung area has became simpler in the formative character and more gorgeous in color or adornment than that of the traditional costume.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.94-105
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• 2009

Hwai-ot is the embroidered bridal red robe that represents the beauty of Korean traditional costume. As there are very few remains of Hwal-ot that are pass to date, the study on Hwal-ot has been limited to the Hwal-ot of Princess Bok-on and some civilian Hwal-ot relics. In this study, I tried to perform a positive research on Hwal-ot of the latter Joseon dynasty by inspecting these Hwal-ot remains housed at Field Museum of Chicago. This study has its meaning in the fact that it tried to illuminate diverse features and beautiful formation of the Korean traditional Hwal-ot by comparing those possessed by overseas museums with the ones in Korean museums. Number 33157 Hwal-ot has very unique pattern with both embroidery and gold imprint decorated. It has less embroidery than the Princess Bok-on's Hwal-ot but has much diverse gold imprint patterns. Other four Hwal-ot remains, other than the number 33157, have similar characteristics with the Hwal-ot housed at Changdeok-gung, whose reproductions are also kept at Dankook University Muesum and Ewha Womans University Museum, which makes it possible to deduce that they have typical characteristics of the Royal Hwal-ot of the latter Joseon dynasty.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.759-769
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• 2001

The principal purpose of this study is focused on the fabrics used in Kaya period by investigating the imprinted fabrics on the remains of the old tomb of Dohang-ri and Jeesan-dong which were built around the late 4th century to the late 6th century. Most of the remains are plain weaved, however there is one remain that 4-end complex gauze with patterned, and the other is weaved with geometrical pattern which were plain weave with 2 · 1 twill and 3 · 1 twill. The imprinted fabrics that had twists had S twists only. Of all the fabrics that were examined, the most loose one had the density of 8 × 6/cm, the most fine fabric had the weft density of 91.8 strands/cm and the warp density cannot be counted. It is No. 416 of Doharg-ri tomb that has the highest ratio of density as 3.15. All the fabrics observed by SEM and Polarizing Microscope are hemp.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.43-52
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• 2003

The purpose of this study was to investigate the characteristics of traditional blue color between Korean and Japanese traditional costumes. Korea and Japan as the neighboring country of geographically and historically, but showed obvious difference in traditional color. In this study we investigated the blue color characteristics that appear on Korean and Japanese traditional costumes. We researched the characteristics of blue color on color names and color tones through the old Korean and Japanese literatures, costume remains and restoration dyeing fabrics. This study researched the Chosun Period in Korea and Edo Period in Japan. The results of this study Were as following; Many differentiation colors appeared in Chosun and Edo period than former ages. These differentiation colors were made giving differences gradually in basic color, hue, value and chroma. The blue color names appeared 40 names in Chosun Period and 57 names in Edo Period. In these blue color names of Chosun and Edo Period, the common color name was not more 'indigo'. The most highly appearanced blue color hues of costume remains in Chosun and restoration dyeing fabrics in Edo Period were blue and purplish blue. The most highly appearanced blue color tones were dull and moderate. By result of preceding descriptions, the characteristics of national color were not come from difference of dye and dyeing method, could know that come from difference of society and cultural environment.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.81-85
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• 2004

Yunnan(云南) province is located in southwest of China in which has four seasons and many historical remains. Twenty-six minor ethnics live in the Yunnan province which is known as a living folk museum. This is because they have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural/cultural surroundings.(omitted)

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.35-47
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• 2001

This is a research about the fabrics attached to the remains of the Okjeon old tomb which was built around the early 5th century to the mid of the 6th century. Most of the remains have one kind of fabric attached to them, but there are cases where different sorts of fabrics are attached, where one kind is attached in layers, and there are also cases where the layer is made of different types of fabrics. Although they are made of warps and wefts with no twists, there can be an S twist on the weft or on both the warp and weft, and only one Z twist can be seen. There are 81 fabrics of plain weaved, one of transformed plain weaved and five 4-end complex gauze in these remains. The sparsest plain weaved fabric has the density of 7.4 strands/cm, while the most dense fabric has the density of 148.2$\times$129.1 strands/cm and 0.046$\times$0.061/mm thickness in thread. All the fabrics observed by SEM are hemp except one silk.