• Journal of the Korean Society of Costume
• /
• v.25
• /
• pp.157-169
• /
• 1995

The confucianism, the Taoism, the Budd-hism and the Folk-Faith actually coexisted and all of them had also widespread infuluence on the Chosun Society. This thesis is designed to study symbol of Color Scheme expressed in the clothing of Chosun dynasty. For this thesis I examined records of Royal archives, books containing lifestyle of Chosun dynasty, genre paintings, documantary pain-tings, excorcist clothing and existing remains. And I synthetically studied symbol of the Clothing Color Schemes in Chosun dynasty on the bases of theoretical researches. The result were as follows. There were many cases of 1. Upper·lowergarments : Red-Blue, White-Blue, White-Blue Color Schemes. 3. Exorcist clothing : Red-Red, Blue-Yellow, Blue-Blue Color Schemes. 4. Multy-colored stripes : Same color arrange-ments were avoided in Color Schemes. In the case of Green Wonsam, Blue-Red-Yellow-White Clothing Color Scheme was obvious. 5. Dance wear : Red-Blue, Yellow-Red Color Schemes. Generally more than anything else Blue-red Clothing Color Scheme was widely used. Be-sides Blue-Red Color Scheme, there were also many cases of Red-Yellow, White-Blue Cloth-ing Color Schemes. As a whole, compatible Color Schemes were more often used than in-compatible Color Schemes were used with various symbols that were based on color concept of Yin-Yang O-haeng, Tae-il theory Folk-Faith and so forth in Chosun dynasty.

• Journal of the Korean Society of Costume
• /
• v.57 no.1 s.110
• /
• pp.163-175
• /
• 2007

This study examines 74 pieces of textiles of Daegaya found in the Jeesan-dong Tomb and Saeng-cho Tomb, and analyzes their characteristics and weaving techniques. Dagaya is known to have produced ramie and hemp from bast fibers. The hemp textiles were all woven in plain weave, and the ramie textiles were woven either in plain weave or plain braid. The ramie textiles were slightly more dense compared to the hemp textiles, however, both had average densities between 0.92 to 0.93, showing that they are balanced plain weave textiles. It was also found that S twist threads were used in the production of the hemp and ramie textiles. The dyed textiles on iron remains were found to be the oldest textiles to use dying techniques for patterns. Silk textiles were woven in plain weave, twill weave, and leno weave. All of the silk were made with non-twisted thread. The densities were between 30 to 58.3 and the the density rates were 1.0 to 2.5 for plain weave silk, this showed that varieties of plain weaver created by different densities of warp and well. The average density of cho was $53.4{\times}22.5/cm^2$ the density rate was about 2.40, therefore warp was woven more dense compared to the weft. There were degummed and raw silk used in silk textiles, but most of them were found to be degummed thread.

• Journal of the Korean Society of Costume
• /
• v.7
• /
• pp.115-126
• /
• 1983

Myun Bok originated in China was introduced into Korea in ancient times. Some evidences show that it had settlled down as our own official robe already under Koryo Dynasty. And Koryo made her own regulations on Myun Bok. Kook Cho O Rye Eui(國朝五禮儀) of Choson Dynasty has comparatively detailed explanations on the way of cutting and shapes and materials. And the regulations are modeled after those of Ming China. But it has been impossible to know whether the regulations of Kook Cho O Rye Eui were strictly kept or not, because we have not enough remains through which to see it. And then we got very useful materials, Eui kue(儀軌), which are well known but have not been used in studying the history of costumes. Every Kook Chang Do Gam Eui Gue(國葬都監儀軌) have the provision of the so-called Pok Wan(服玩) set which includes the imitations or the full set of Myun Bok. And the provisions show us the illustrations colored in detail which help us understand the real shapes and the transformations of Myun Bok. After surveying the Pok wan provisions, author arrived at conclusions as follow; 1) Myun Boks are not always made in the same shape and colors. 2) The Provisions of Kook Cho O Rye Eui were not always kept strictly due to the lack of detailed directions.

• Journal of the Korean Society of Costume
• /
• v.58 no.5
• /
• pp.198-210
• /
• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• Journal of the Korean Society of Costume
• /
• v.58 no.5
• /
• pp.102-117
• /
• 2008

This study shows the badge system for military officials of Joseon dynasty. The badge system for military officials of the 15th century consists of rank badges with tiger and leopard for the first and second ranks and rank badges with bear for the third rank. According to the code of laws, military officials are supposed to wear the rank badges with four different kinds of animals in Joseon dynasty. However, the badge system shown in the code of laws sometimes does not match with the badges in practices. Based on the literature, remaining badges and the badges in portraits, six different kinds of badges with animals are found : First, rank badges with tiger and leopard were used until the late 16th century. Second, rank badges with tiger were found in the period between the early 17th century and the latter 18th century. Third, rank badges with Haechi were found in the early 17th century. Fourth, rank badges with lions can be found in remains of the mid 17th century, the literature and the portrait of the late 18th century. Finally, the rank badges with double leopards or with single leopard were found from a portrait dated the late of 18th century to the last period of Joseon dynasty.

• Journal of the Korean Society of Costume
• /
• v.59 no.7
• /
• pp.1-16
• /
• 2009

This study is on the children's clothing in Seoul Gyeonggi-do, Chungcheong-do and Gangwon-do between the $1920s{\sim}1950s$, by comparing positive data collected from pictures and literatures, remains and interviews. A baenaet jeogori was made of soft white cotton fabrics and was used as a charm when the baby had grown and had an test or a big occasion. A dureong chima and pungcha trousers were clothes for both boys and girls from their birth to the age of $4{\sim}5$ when they could have bowel movements by themselves. Occasions for celebrating a baby's growth were the one-hundredth day and the first birthday. In general, ordinary families had their babies' one-hundredth day in a simple way without special clothes. On the first birthday, however, even ordinary families prepared new clothes for their babies, and read their fortune and prayed for their well being and long life through events such as doljabi. In the age when medicine was poor and the infant mortality was high, the meaning of such a ceremony was to congratulate on the baby's safe growth through dangerous moments.

• The Research Journal of the Costume Culture
• /
• v.27 no.6
• /
• pp.615-631
• /
• 2019

Smart healthcare clothing combines IoT, new technology, and clothing construction to perform specific care functions, and its utility has been expanding rapidly within aging and diversified societies. However, the related market remains at an early stage of development due to limited regulation, lack of consumer awareness, and the need for not only technical development but promotion plans for potential users. This paper aims to analyze factors influencing purchase intention for smart healthcare clothing with biosignal monitoring, including variables in the Technology Acceptance Model (TAM), clothing attributes, health-related lifestyle factors, and fashion innovativeness. A survey was conducted on a sample of 300 males and 300 females ranging in age from 20 to 50 years, and data were analyzed using SPSS 21.0. The results show that perceived usefulness, perceived aesthetic attributes, health responsibility, and fashion innovativeness were overall significant predictors of using smart healthcare clothing. Additionally, perceived ease of use and physical activity in the male subsample, and perceived compatibility within the female group, also had significant effects. Furthermore, age was a determining factor; for subjects in the 30s age group, perceived usefulness, compatibility, and health responsibility had significant positive associations. The results of this study can provide basic guidelines for designing merchandising plans to expand user acceptance of smart healthcare clothing.

• Journal of the Korean Society of Costume
• /
• v.5
• /
• pp.165-171
• /
• 1981

During the period of 3rd Tae-Jong and 4th Se-Jong, Yi Dynasty has established sound basis for ruling power and aristocratic social cast system. And the regulation for official dress has also been firmly established during the same period. The establishment of KWAN BOK SACK (Office of Hat-Dress) in 16th year of Tae-Jong (1416 A.D.) and the enforcement of KWAN BOK JI JAE (System of Hat and Dress) in 8th year of Se-Jong(1426 A.D) indicates the completion of system of official dress in the dynasty. In this study, the author tried to find out the concept of color in the ruling society since the concept of color in KWAN BOK JI JAE, which is the social reglation in the fendal dynasty, had greatly been influenced by these class of people. Effort has also been given to investigate what motivated the establishment and enforcement of KWAN BOK JI JAE, through the descriptions revealed in SE-JONG SILLOK. It can be concluded in the first that, in KWAN BOK JI JAE no new color concept appeared and its significance only remains on the fact that it establshed the social regulations which were existed before. And secondly, the works of Se-Jong in KWAN BOK JI JAE, in contrast to his magnificance in other fields, only showed great influence of toadyism (Chinese culture).

• Journal of the Korean Society of Costume
• /
• v.5
• /
• pp.141-152
• /
• 1981

Various ceremonial flags were of great importance to the rulers who wished to have the absolute authorities for governing the people. Perhaps nothing indicated the ideas, thoughts and symbols of a certain period and people than the ceremonial flags. The ceremonial flags used in the old China and Korea took the shapes of the heaven and the earth, representing the social backgrounds and thoughts. This study was limited only to the discussion of the heaven-shaped patterns of the ceremonial flags. The 28 constellations of the heaven, in the Oriental way of thinking, were considered to express the immortal powers of Providence and the political domination of the earth. Hence the Polaris, the center of the heaven, symbolized the whole family of king, prince, child born of a concubine and royal harem. Among the constellation pictures were those of Han period, wall painting of old tombs in Koguryeo kingdom and old Japanese kingdom. Referring to the Emperor's ceremonial flags in Daemyeongjibyei, symbolic meanings changed historically and the complete systems of the ceremonial flags were established in Song period when the divine person was drawn on the flags. Animals concerned properly with the particular star and the shapes of the star were both drawn on the flags in Won period and only the shapes of the particular star in Myeong period. In the Imperial enthronement of Kojong the ceremonial flags might be made by the examples of those of Myeong period and remains are now found at Changdeok Palace, which need a further study because the references in detail are not available.

• The Research Journal of the Costume Culture
• /
• v.30 no.1
• /
• pp.16-32
• /
• 2022

In the intensely competitive global fashion market, the use of cultural elements to enhance design has become increasingly widespread. However, there is a lack of research on challenges and opportunities associated with integrating cultural elements of Minhwa into fashion design. Moreover, diverse approaches to incorporate Korean cultural elements into contemporary fashion designs are still needed. This study aims to reveal the real-world challenges relating to the incorporation of Korean cultural elements, including Minhwa, into fashion design and to clarify the possibility of applying Lin's cultural levels to cultural aspects in accordance with experts' views. To establish a theoretical foundation, the literature review on cultural design and Minhwa studies was conducted. It analyzes Minhwa to gain an understanding of the characteristics associated with different cultural levels. In-depth interviews with fashion industry professionals and Minhwa artists were conducted to ascertain their attitudes toward Minhwa use. The study's major findings were threefold. First, the cultural design facilitates the introduction, promotion, understanding, and maintenance of the culture. Since Minhwa offers rich inspiration linked to Korean culture, Minhwa-related designs can provide new perspectives while still having commercial potential. Second, however, the limitations of existing cultural designs included their being outdated, superficial without interpretation, unsophisticated, or limited. Furthermore, the use of Minhwa is limited since it is difficult to avoid creating superficial and unsophisticated designs in the real world. Third, approaching Minhwa at different cultural levels can promote diverse thinking and reduce the challenges of Minhwa use in design, but the major challenge remains visual expression.