• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.1-14
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• 1996

The purpose of the study is to analyze the dresses appeared in Nogultai. In the analysis of this study names and kinds of fabrics, colors, motifs, places of production and names of dresses were examined. In the study various kinds of fabric colors and motifs of fabrics were appeared in Nogulta. Also a variety of silks such s brocade, damask, plain silks, ra, silk gauze, hemp cloth, cotton cloth, wool and fur were found. Colors of fabrics were of blue, green, indigo blue, red, light blue, brown, yellow, black and white were described. Mostly cleouds, flowers and mixtures of floral designs were used in silk brocades, Walrus was motif the only animal revealed in silk brocade. Nanching, Hanchaw, Suchaw were famous production centers of silk damasks, silk gauge and silk ra. Also Shantung and Suchaw produced good quality plain silk. Various kinds of coats, waded coat, wadded short coat, inner jackets, vest trousers, winter cap were included. Also accessories such as belt, cap, boots, socks, money belt, pouch were described. In addition, cosmetics, cosmetic kits and names of semi precious stones were mentioned. Seasonal garments differed according to kinds of fabrics and materials used. Wadded coat, wadded short coat, vest, winter cap and wool socks appeared as winter wear.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• Fashion & Textile Research Journal
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• v.4 no.1
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• pp.79-85
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• 2002

To develope natural dyeing materials from the unused plant materials, we had several dyeing experiments to investigate the optimum conditions of dyeing fabrics with the waste grape juice. Dyeing experiments were done under different dyeing conditions of dyeing time, dyeing temperature, pH and concentration of dyebath and mordants which were treated after dyeing. Experimental fabrics were silk, cotton, ramie and hemp. Color difference(${\Delta}E$) and Munsell's HV/C of the dyed fabrics and color fastness of silk dyed fabrics to dry cleaning, washing, rubbing, perspiration and light were measured. The color differences of dyed experimental fabrics were very slightly increased with dyeing time and the color of dyed silk was light purple and the cotton, ramie and hemp was light red purple. The color differences of dyed experimental fabrics were decreased and the color became lighter with dyeing temperature increased. The color differences of dyed experimental fabrics were decreased and the color changed from light purple to blue with the pH of dyebath increased. The color differences of dyed experimental fabrics were slightly increased with the concentration of dyebath increased. The color of dyed fabric changed with the mordant treatment and were different among the experimental fabrics. On the whole, blue tone increased with the Al and Fe mordant and green tone increased with the Cu mordant. The color fastness of dyed silk fabrics to light, washing (change) and perspiration (change) was bad and color fastness to dry cleaning and rubbing were good.

• Journal of the Korean Society of Costume
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• v.5
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• pp.65-81
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• 1981

I referred to documents to study the origin and the progressing process of textiles. Cotton seeds were first imported from China by Mun, Ik Jem at the end of the era of Koryeo, and cotton had several different names such as mok-myen, cho-myen, gil-pae, baek-chep-za, tap-po, ban-ki-wha, dong-yep-po and so on. Since the era of the Three Kingdoms, people had heard of cloth of superior quality but it was not certain whether it was imported from China or made in our country. It seems that cotton was not made during that period, white silk, hemp cloth, and ramie fabric were produced. At that time, linen was called cotton by mistake. After importing cotton seeds from China, all the people began to plant them and made their clothes from them. At the beginning of the Yi Dynasty, the weaving technique was dependent on China. However, the government persuaded farmers to plant them. At that time cotton was used as a means of purchasing instead of money. Silkworms raising started during the era of the Three Kingdoms and it was widely spread at the beginning of the Yi Dynasty. In order to encourage sericulture' spinning and weaving instruments were installed in the royal palace and the queen with sher court maids demonstrated how to spin and weave. The activity was named "chin-jam-ye." Linen was the representative of all textiles and it was also very popular. The technique of weaving had already been highly developed at the era of Silla. During the era of the Three Kingdoms people used "bang-chu-cha" as a weaving instrument. They discovered several new hand machines in the period of the Yi Dynasty: they were instrument of removing seeds, spinning wheel, hemp cloth loom and so on, and we find the remains of them these days.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.37-47
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• 2007

This study is considered about the fabrics of the tomb of King Muryeong at the Baekje(百濟) Period. First, there were silk fabrics such as compound woven silk(錦), twill damask(綾), complex gause(羅) and plain weaved silk(平絹). All of compound woven silk(錦) are the warp-faced compound tabby(經錦) of plain weave and the density is various from high to low one. The twill damask(綾) was a variation of twill damask weaved with a six strand warp thread. The complex gause(羅) made patterns as a set of 2 strand, 4 strand, 6 strand and 8 strand warp threads are weaved alternately with the weft. There were three kinds of plain weaved silk(平絹). The first was weaved densely without space between strands. The second was weaved with a small space between strands. And the third was weaved with a two strand warp thread, having a space between the threads. On the other hand, several pieces of well preserved ramie cloth were excavated. Of the, the densest one has the density of 125 strand/inch for the warp and the weft. In addition, strings made of flax thread were found. This suggests that flax fabrics may be found additionally if the hardened lumps of fabrics are resolved and analyzed. Other materials discovered include knits, knotted strings, embroideries, threads and floss. Pieces considered knits and knotted strings occupy a large part of fabrics excavated from King Muryeong's Tomb, and in particular knotted strings show various knotting methods. In addition, embroideries such as chain stitch and button hole stitch are clearly observed. What is more, there are silk threads and hemp threads, which are presumed to have been used for dangling ornaments such as Yeongrak(瓔珞) and beads or for sewing. Besides, floss was found between fabrics.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.955-967
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• 1995

This study was performed to investigate the physical and chemical properties of the 5 kinds of fabrics dyed with persimmon juice and undyed fabrics. The difference between dyed and undyed fabrics was checked experimentally. Obtained results are as follows. 1. Bending length and flex stiffness were increased after dyeing, and tensile strength of waif i3l fabrics except Ramie was also increased. 2. Abrasion resistance was improved in Ramie and Hemp after dyeing but the rest of fabrics were decreased. 3. Crease resistance of dyed fabrics was roughly worse than that of undyed fabrics. 4. Air permeability remarkably increased after dyeing and this fact estabilished that the traditional Gal-01 was cool clothing. 5. Water repellency in Cotton 1 and Polyester rises but the rest of fabrics were not changed. Therefore it is found that this repellency related to the their fabric counts. 6. Blocking effect of UV light and visible ray was increased in all dyed fabrics. Especially dyed Cotton 1 and Polyester blocked UV light almost perfectly. 7. The colorfastness to soaping and sunlight was proved to less than 3 grade in all fabrics after dyeing. It indicates that this colorfastness became worse owing to dyeing. 8. The colorfastness to dry cleaning and water was decided to more than 3 grade in all fabrics. 9. The colorfastness of the dyed fabrics to sweat after exposing to man-made acid sweat solution was good so that was decided above 3 grade. However after exposing to man-made alkalic sweat solution it became worse owing to dyeing.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.855-866
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• 2016

This study explored the concept and use of two kinds of textiles goods (Cheongpo [blue textile] and Samseung) sold by Cheongpo-jeon merchants in the Joseon Dynasty of Korea. Research was conducted based on an analysis of relevant documents published during the Joseon Dynasty. The Cheongpo-jeon was a merchant group that predated 1637. They sold various imported goods such as Cheongpo, Samseung, cotton textiles, felts, hats, incense, and needles. Cheongpo and Samseung were the main products among these imported goods. Cheongpo was a blue cotton textile imported from China that was sold by Chengpo-jeon merchants. The Samseung sold by merchants was a kind of imported textile whose surface provided a feeling like cotton flannel. The concept of the two textiles were different from existing ideas. Generally, the Cheongpo was believed to be a hemp fabric dyed in blue and the Samseung was a textile with a density of three seung (a traditional density unit of textiles). Cheongpo was used as a currency for war supplies during the two Japanese invasions of Korea (1592 to 1598). In addition, it was also used to make military uniforms, tents, and flags after the Japanese invasion. Samseung was used in the combat uniforms of Chinese soldiers from Ming China during the Japanese invasion of Korea. In addition, it was continuously used to make quilted gambeson amour and some of military uniforms until the $19^{th}$ century.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.694-707
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• 2017

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women's wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

• Journal of Conservation Science
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• v.25 no.2
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• pp.219-231
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• 2009

The purpose of this study is to provide basic information necessary for the cleaning of excavated costumes. For the purpose, these researchers reviewed previous records of the actual cleaning of excavated costumes and then implemented and documented the processes of cleaning the Yeosan Song's costumes excavated at Mokdal-dong, Daejeon, which could date back to the early and mid periods of Choseon Dynasty. The excavated clothes of the family provide good examples for comparing men's costume of the 15th century with men's and women's of the mid and late 16th century. The total quantity of excavated remains were 184 and textiles were cotton, silk, hemp, ramie, and union cloth. The clothing remains were processed through wet or dry cleaning in accordance with their fabric condition and the extent to which they were worn or polluted. In detail, the excavated costumes of the Yeosan Song family were cleaned in two stages. For wet cleaning, both anionic(LAS) and nonionic(Triton X-100) surfactants were respectively used as cleaning agents and for dry cleaning, a mixture of n-hexane and n-decane(the ratio of 4 to 6) and petrolic dry cleaning solvent were used. After first cleaning, some cotton, ramie and hemp which had still the stains were processed bleaching and silk which were good condition was processed dry cleaning with the organic solvent again.