• 복식
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• 제66권7호
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• pp.89-108
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• 2016

The purpose of this study is not only to trace the examples of 'Chesanja' from the texts and artifacts, but also to restore the terminology of the lost traditional Joseon embroidery technique. 'Chesanja' came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing 'Chesanja' into Guya(Goya) through ${\ll}Barktonsa{\gg}$ the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, 'Chesanja' had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accor- dingly, in the "Beonnyeok-Baktongsa"(1515) appeared together written records with 'Chesanja' 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text "Baktongsaeonhae"(1677) also. Despite this by the mid-18th century, the term in "Baktongsa-sinseok"(1765) and "Baktongsa-sinseok-eonhae"(1765) had disappeared. This phenomenon suggests the possibility that the production and utilization of 'Chesanja' required the sophisticated process for the ruling class had been declined with the custom of embroidery based on the gradation by colorful threads as the preferred technique. Therefore, 'Chesanja' and 'Gwiyeo'[귀여] disappeared from the records but they can be found in the artifacts of the royal family of 19th century. So Chesanja is calls Guya(Goya) and exists as unique technic only in the royal family.

• 한국의류산업학회지
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• 제12권5호
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• pp.574-581
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• 2010

Trunks like men's underpants are similar to boxer shorts and are made in both modern and traditional styles. Like boxer shorts, trunks cover the mid-section of the body (hence the name "trunk"). As the income level of the nation increases, men as well as women become interested in fashion expressing the individual's character, by not regarding fashion as simply wearing essential items to live in. Men's interest in fashion influences men's underwear designs which has been thought previously just as to be worn for living in. Nowadays, trunks are often worn as lounge wear in the household, therefore the need for sensual and characteristic trunks designs is required in the fashion market to meet the customer's new needs. In modern fashion designs, Chinese letters have been artistically presented and used in decorative fashion design regardless of its original meaning, generally embroidered in traditional costumes. Based on the fact that Chinese letters containing lucky meanings have traditionally been used, other Chinese letters meaning positive and prospective future can be adapted and weaved into men's trunks designs. Therefore, in this study, among many good meaning Chinese letters; four Chinese letters, 高(high), 金(gold), 義(justice), 愛(love), have been selected and applied in the trunks designs. The purpose of this study is to develop men's trunk designs using these Chinese letters which can be massively produced and sold in Asian countries which commonly understand the meaning of the Chinese letters as well as in South Korea.

• 복식
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• 제54권8호
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• pp.75-86
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• 2004

This study aims at considering and analyzing the stature of denim clothing as an ornament as well ai how aesthetic meaning and human being's mental side indwell in the development of denims. which will be proceeded in the future, from the view of contemporary culture of dressing. It is found that the stylishness expressed through denim clothing is formed on the basis of the cultures of party, drawing and disorganization, and the result of the study was as follows. Firstly, the culture of party became the source of for decoration of denim clothing, and denim clothing more glamorize women as a party-look which makes the most use of its advantage to be comfortable and able to display in various ways with splendid artificial jewelry, patchwork, dyed pattern which is elaborately embroidered. Secondly, Such culture of drawing is applied to denim clothing so that denims are expressed to make people feel more human being's warmth as being free from the existing stereotype and formality. Thirdly, the most outstanding feature of denim clothing showed in the culture of disorganization is to make the most use of vintage style as it is. This reflects an image of the culture of disorganization under postmodernism, which is free from the traditional conception of the existing dressing by destroying the original form, in the way of slashing, making a hole and tearing. That is, people can sufficiently express not only free sense of release based on postmodernism by wearing denim clothing, but also human being's intrinsic desire for restoration of humanism or human warmth with splendid decoration or various techniques such as handicraft. It can be recognized these features as the reasons, that make denim clothing place themselves as an original fashion item, by giving denim clothing technical decoration in recent years.

• 복식
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• 제54권5호
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• pp.59-70
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• 2004

Tea has influenced the basis of Korean culture in history for a long time. The dissertation aims to establish the history of the costumes for the tea ceremony based upon historical data. During Thee Kingdom Period. there was a ceremony called Tea Offering Ceremony In Silla times, there were Tea Offering Ceremony and Royal Shrine Tea Ceremony: In Corea age, they served Tea Presenting Ceremony: In Chosun age. tea ceremony was a part of Tea Presenting and was held during official greeting feasts for foreign envoys and during feast ceremonies at the court. The costumes for the tea ceremony by period are as fellows : In Corea times, king and all the government officials wore official court attire for Enthronement Ceremony (Ka-Rye). For Official Guest Reception Ceremony (Bin-Rye), king wore official costume, but in case the envoy was not carrying an Official King＇s Letter, king wore Ordinary Costume. In Chosun times, both king and prince crown wore ordinary costumes of winged silk crowns and royal robes (with golden dragon patterned segment) for Envoy Reception Tea Ceremony. In time of royal feast ceremony, king and prince crown wore ordinary costumes of winged silk crowns and royal robes, while queen wore red purple silk robe (red purple embroidered segment). Chosun＇s royal court occasionally held tea ceremonyat royal feast ceremonies during which king also wore ordinary costume of winged silk crown and royal robe as a costume to attract good fortunes. In case of ceremonies for bad occasions, a tea ceremony was included in Royal Inquisition procedures (joong-hyung-ju-dae-eui) during which king wore simple costume (Pyun-Bok).

• 복식문화연구
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• 제19권4호
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• pp.712-722
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• 2011

The purpose of this study is to examine the types and characteristics of decorative techniques applied to the Korean traditional skirt of contemporary style. For the purpose, this researcher selected 167 pieces of Korean traditional skirts which were shown in relevant monthly magazines published between 2001 and 2010. Then, the researcher classified the types of decorative techniques found in those selected pieces and analyzed the characteristics of decoration technique for each area of the pieces and the characteristics of patterns used in relation to those techniques. The Korean traditional skirt, otherwise called 'Hanbok chima', was classified into two types, single and composite, in accordance with which technique of decoration was used to it. The single type was characterized by so many embroideries, while the composite type, a combination of two decorative techniques, seonchigi and jatmulim. In the Korean traditional skirt, decorative techniques were applied to the knotting and entire of the skirt. Patterns used to decorate the Korean traditional skirt were usually in form of embroidery, gold or silver foil or painting. Out of the patterns, those which were embroidered or painted were shaped flowers, while those which were plated with gold or silver are shaped bosangdangchomun and flowers. There were other decorative techniques than mentioned above, for example, applying two or more different colors to the hem of the skirt, attaching pads to the knotting of the skirt and padding a decorative cloth on the front center of the skirt.

• 한국의상디자인학회지
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• 제23권4호
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• pp.105-116
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• 2021

Pillows are tools that humans have used for a long time to sleep or lie down and rest. It is bedding, and the oldest literature dealing with it is Volume 29 of 'GoryeoDogyeong', which describes embroidered pillows. The oldest relic is the queen's pillow (National Treasure No. 164) excavated from the tomb of King Muryeong, and is in the Gongju National Museum. This study attempts to investigate and reproduce the materials used in traditional pillows Yukgol pillows and pine nut pillows designs are based on literature and artifacts from the Joseon period to modern times. Regarding the research method, after reviewing literature and the relics of traditional pillows, the process of reproducing the traditional Yukgol pillow and the pine nut pillow production method were explained step by step. This study found the plain attitudes in the lives of people who used materials that could be easily gained from their daily lives in rural communities oriented to rice farming never recklessly threw out any piece of cloth or cotton and use it for pillow stuffing or pillow ends. Also, the sophisticated sense of aesthetics that you can see from the pine nut pillows, whose ends were made of remnants from making clothing are exquisitely similar to what was shown in patchwork previously. The biggest meaning of restoring traditional pillows was looking into traditional culture, particularly the ordinary people's living culture. It was very difficult because the researcher had to find materials that were difficult to obtain in this age, the making process was complex, and it took much time; however, it is significant in that the restoration of traditional pillows allows for the succession of tradition.

• 패션비즈니스
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• 제26권2호
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• pp.95-109
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• 2022

This study was aimed at developing a new textile design based on the authentic and cultural resources of the Gangneung Subo pattern and applying the textile design to knitted fashion products. Gangneung has been recognized for its outstanding artistry in the field of Gyubang art. Gangneung Subo is an embroidered wrapping cloth. The discovered and preserved Subo at this time was from the Kwandong region centered in Gangeung, and is regarded as the product of the indigenous native culture in Kwandong. Therefore, as a representative cultural resource of Gangneung, the Gangneung Subo has sufficient value as a material for the development of cultural products with uniqueness, distinctiveness, and historicality. As a research method, the background of Gangneung Subo was investigated. A total of 12 motifs were created while preserving the authentic originality of the Gangneung Subo pattern and minimizing unwanted deformations of the pattern during the developing process. The created motifs were repeatedly applied to the pattern and new textile designs were created. Eighteen knit fashion products, including narrow and wide-width mufflers and neck warmers, were developed by applying the new textile designs. As a significant cultural resource for cultural goods development, this study ascertained the value of Gangneung Subo, preserving its unique distinction and history. This study was especially significant since the Gangneung cultural goods developed used knitted material and extended the development to producing real products.

• 한국의상디자인학회지
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• 제24권1호
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• pp.59-69
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• 2022

Vyshyvanka, the embroidered folk costume shirt of Ukraine, originated during the early reign of the Slavs, and currently, it is also called Ukrainian embroidery. In cases of Vyshyvanka embroidery expressed in apparel elements, it is necessary to research formative characteristics for expanding the visual aspect through the diversification of techniques, but also the aspect of the psychological meaning to Ukrainians. This study aims to consider Vyshyvanka as a unique embroidery technique, and also analyze the formative characteristics expressed in apparel elements. The study of Vyshyvanka embroidery expressed in apparel elements can present meaning to understanding the Ukrainian fashion. The image materials for the analysis of Vyshyvanka design, included work photos contained in literary materials and foreign online visual materials. The results of formatively analyzing the Vyshyvanka embroidery expressed in apparel are as follows. First, the Vyshyvanka embroidery expressed in apparel elements held an incantatory meaning, protecting wearers from getting easily invaded by evil spirits. Second, the Vyshyvanka patterns utilized symbolism that implied the incantatory meaning. Third, a single color was used for the embroidery. Lastly, materials like cotton, that are easy to embroider, were mostly used. The formative characteristics of Vyshyvanka embroidery expressed in apparel elements implied the community spirit, nature worship, and folk beliefs. As an attempt to understand the Ukrainian fashion, this study is significant in the aspect of expanding, widely utilizing, and expanding the range of understanding of Ukrainian fashion. Therefore, there should be more active researches on Ukrainian fashion, so Vyshyvanka can be more widely used as a design element.

• 한국의상디자인학회지
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• 제25권2호
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• pp.123-134
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• 2023

Fashion design, CAD production, and the use of digital software can shorten the time and production processes in the fashion industry, but there are still many limitations in how to similarly express textile textures. Having this awareness, how to implement the visual effects of textile texture similar to that of the real world in the virtual world is one of the major exploration tasks in the fashion industry. Therefore, this study aims to analyze examples of embroidery techniques in Christian Dior collections and explore how embroidery techniques in 3D CLO fashion design can express the texture of real clothes more similarly by creating virtual works through 3D samples and 3D CLO software. First, the analysis criteria and theoretical basis of this study were derived through a literature review on fashion textile embroidery techniques, identifying types and characteristics of embroidery techniques, and classifying them into 12 types. Second, photos of the Dior 2017-2023 SS/FW Ready-to-Wear collections were collected and analyzed through the case analysis VOGUE site. Third, it presents the production of 3D CLO works by deriving a method of implementing embroidery techniques through the design of sample textile embroidery techniques using substances 3D sample software. The study's has some limitations. First, in 3D CLO fashion design, the needle gap for embroidery must be widened to see the thread pattern. Second, by reducing the number of needles, it is necessary to imitate the actual embroidery effect. Third, it is judged that it will be effective to lengthen the thread and adjust the thickness of the thread. Fourth, the thickness of the entire embroidery pattern must be increased to enable a three-dimensional texture.

• 한국의상디자인학회지
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• 제26권1호
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• pp.17-31
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• 2024

The purpose of this study is to propose a modern use of traditional culture by developing creative fashion designs that combine modern and traditional styles based on an analysis of traditional costumes of women in the Tang Dynasty of China. The characteristics of the Tang Dynasty women's costume are as follows. The Tang Dynasty women's costume consists of a short coat (衫, Shan), skirt (裙, Qun), half-arm shawl (半臂, Banbi), and short embroidered cape (帔, Pei). The colors are succinct and elegant, commonly red, yellow, green and navy blue in its entirety. It may be classified by pattern that blend plant patterns, animal patterns, geometric patterns, and two or more mixed patterns. On the basis of the characteristics for traditional women's costume during the Tang Dynasty, the CLO 3D program is employed to develop digital fashion design for four pairs of 3D digital clothing and the production of two pairs of work product. The results are as follows. First, the development of fashion design reflecting the design characteristics of traditional women's clothing in the Tang Dynasty of China could be expressed as fashion design reflecting unique values while connecting tradition and modernity. Second, the 3D virtual clothing program displays an extremely important effect in design deployment and pattern arrangement by having efficiency and convenience in clothing production. The CLO 3D program is closely combined with the 2D design and 3D effect and heightened efficiency while being appropriate to realize sustainability while saving processing time and energy for the sample products. Third, the production of an actual product by facilitating the 3D virtual clothing design may lead to time savings and an effective economy and may allow for the comparison of digital fashion design and actual products as well as confirming the effects of digital fashion design.