• 한국의류학회지
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• 제43권6호
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• pp.891-909
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• 2019

This study uses a documentary survey, field survey and textile's characteristics to understand the history of the Punggi Viscose Rayon. Punggi's textile industry grew as people migrated from Pyeongan Province in the 1900s. Little is known regarding early production conditions, but documents show cottage industries in the 1940s made union cloth using silk and rayon. The Punggi weaving industry peaked after the Korean War and declined in the late 1950s. Punggi rayon at that time was mainly used for lingerie or lining, with miliary or polka dot patterns. The industry regained momentum when the power loom was introduced in the 1960s. Manufacturers also started weaving union cloth with synthetic fibers and rayon. In the 1990s, jacquard looms enabled the weaving of elaborately colored and patterned textiles for outer fabric that made Punggi rayon famous. Most Punggi rayon looms have developed in the order of manual handlooms, semiautomatic looms, Jokdapgi, to power looms. Looms equipped with dobbies or jacquard devices also changed from wooden dobby looms to wooden jacquard looms and then to iron jacquard looms. Punggi Rayon currently has its own trademark and tag, but lacks specific regulations on the blending of fibers.

• 한국의류학회지
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• 제5권1호
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• pp.31-40
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• 1981

It is of great significance to perform a ceremony with the utmost honor in every society and the fact is that ancient Koreans executed sacrificial rites to natural scenery with primitive reilgious things from the beginning of Korean history. Minute records on the various ceremonies to the Koryeo Dynasty are found in Koryeodogyeong and it might be said that there were no standing rules and the many ceremonies were resorted to an expedient, because in the Yi Dynasty the first codified ceremonial lawbook, Kukjooryeeui was formalized and after then all the ceremonies and formalities were carried out by the referential rules of the above-mentioned Kukjooryeeui. After the imperial enthronement of Kojong, all the ceremonial goods and flags symbolizing the heaven and auspicious animals-authority and fortune-were made by Daemyeongjibyei, which are found at Changdeokgung now. There are no remarkable differences in the Yi Dynasty between the records at the beginning and the remaines at the last stage, which shows once-fixed standing rules were kept faithfully to the end. The main patterns used on flags were of imaginary animals such as dragon, indicating the wish that countless authority and fortune should be realized. This is the former part of the study on the ceremonial flags in the Yi Dynasty and I hope the detailed idea and symbolic meaning concerning the flags will be discussed later.

• 한국의류학회지
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• 제4권1_2호
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• pp.35-42
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• 1980

Gan Tack is meetings for marriage in Royal Families only. There are three selection courses before the final decision of one person, and it done with a view to finding the best person in the country. On the history of costume, it was greatly changed in Yungjo's period. In this thesis, I studied the costumes of king Yungjo, Jungsungwanghu who is the consort of Yungjo, Inwonwanghu who is the consort of the late king, Sunhigung who is a seraglio of Yungjo, Ongjus who are King's daughters by seraglios, Sanggungs who are court ladies, Yumo who is a wet nurse, and etc., for Gan Tack with Hyaegyunggung-Hong who is chosen the consort of Prince, and research the Dresses, which are Jugori, Chima, Dangui, Gonryongpo, and Wonsam. The girls who attend Gan Tack dress up Jugori whose color is yellow, Chima whose color is red, and Dangui whose color is green. King wears in Gonryongpo, the Consorts in Wonsam, and the court ladies and Ongjus in Dangui, of course, there are differences of the colors and ornaments on the ranks. Finally, I hope this thesis will be of great help to the costume of historical dramas.

• 대한가정학회지
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• 제44권4호
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• pp.39-47
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• 2006

This study considers the Gagye(Added Hair) style shown in ancient Goguryeo Murals and examines its values and significance through an in-depth study on the relevance to the style of China. In Gagye style, the Korean Hwan-gye(Round-rolled Hair) hair type was different from that of China in letting the hair down and using accessories. The Korean Sseu-gye(Covered Hair) hair type features textile-made and Bokbal (Covered hair) styles. The Korean Go-gye(Highly-rolled up Hair) hair type was different from that of China in style and volume. The Korean Da-gye(Multi-laid Hair) hair type was different from that of China in component pattern in that the Korean Da-gye type was composed of two or three gyes. Eoneun meori (Braided & Coiled Hair) features the unique Goguryeo pattern in which "Che" was placed on the head and the hair was braided down on the sides of the face. Therefore, the Gagye style of Goguryeo Murals was localized and developed through cultural interchange between Goguryeo and China. It also features its own values and significance in Korea's clothing history.

• 한국의상디자인학회지
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• 제23권3호
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• 패션비즈니스
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• 제12권1호
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• pp.147-163
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• 2008

This research aims to develop cultural products for professional sales after producing creative products utilizing dinosaur characters, which are the representative exhibited item of dinosaur-centered museum. There are seven museums in Korea whose theme is dinosaur. There are three dinosaur museums among them, Goseong Dinosaur Museum at Kyungnam, Mokpo Natural History Museum, and Seodaemun Museum of Natural History. While inspecting cultural products within the museum shops of these three museums, general products occupy more than 80% of all the products rather than products related to dinosaurs, and has a problem that most products are decorative ones. This resulted from that enterprises supplying these products are not professional ones and are irrelevent to cultural industry; as result, purpose of conveying culture through products is lost. This research develops dinosaur characters utilizing computer 3D techniques in order to imbue unique characteristics to dinosaur museums and informing cultural speciality of our country. In addition, this research presented design method of cultural products by grafting traditional symbols onto these characters, and actually produced 11 items of 5 kinds: toys(dolls), clothes(T-shirts, pajamas, socks), stationery(notebooks, memo), accessaries (bags, umbrellas, handkerchief), and others(cups). On the items above, dinosaur characters are variously utilized in form of printing, embroidery, and stickers by using computer 3D technique. A cultural product is a tangible form which could show variety of cultural characteristics of our nation that could spread the culture through the consumers, and such type of purchasing could increase values of cultural industry by creating economic profits; such points are the significance of this study.

• 한국의류학회지
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• 제34권2호
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• pp.226-241
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• 2010

This study details the history and characteristics of consumption values, text style analyses, and appeal types expressed in magazine commercials from 1955 to 2008. This study analyzes the level of the social structure of commercial expression for each period. Consumption values based on the categories of consumption values by Sheth (1991) were classified through a total commercials analysis. Analyses on closing types of sentences, types of sentences, and rhetorical figures were executed focusing on headline text and text style. Appealing types were composed of rational, emotional, and ethical appeals. For analysis, the crosstab analysis and chi-square test of SPSS are used. The results are as follow. Seven values were constructed, functional value, social value, emotional value, conditional value, epistemic value, fashionable value, and indistinct value. The ratio of emotional value was the highest and functional value, epistemic value conditional value, fashionable value, social value, and indistinct value followed. The emotional value social value, conditional value, fashionable value, and epistemic value that focused on the emotion of consumers increased, while the functional value decreased. Sentences that use narrative styles, hyperboles, and metaphors that increased the interest of readers were dominantly used in the headline texts. For sentence expression, a declarative sentence in a sentence type, exciting curiosity in the expression method where hyperbole and figures of speech in rhetorical expressions are used most often. Emotional appeal was used almost twice more than the reasonable appeal for appeal types of the total commercial. The lower level of reasonable appeal is information that provides the product function. Interest and expression (such as pleasure and achievement) were used most often for emotional appeal. These results show that the most important issue is the emotional value in consumption in understanding the consumer. Marketing managers should also be aware of the functional value as well as an emotional value.

• The International Journal of Costume Culture
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• 제8권2호
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• pp.71-84
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• 2005

Fibulae have been used as clothing fasteners throughout history. They were especially popular with the Celts, but were also used by the Greeks, Romans, Saxons, and Vikings, to name a few. The earliest examples are found in the Mediterranean and Middle East, and date from 800 B. C. and earlier. Their use continues today, in the form of the modern safety pin. The first fibulae of the Bronze Age were very simple, much like modern safety pins. The form of this small functional object varies from simple to extravagant since it is also seen as a piece of jewelry, and is thus subject to the evolution of style. Its size depends on the thick/Jess of the clothing to be attached. Its fabrication demonstrates a great mastery of metal work. Fibulae would vary with the taste and wealth of the wearer. The Fibulae were divided into 10 styles according to the shape, Fibulae with Safety pin shaped style, Penannular shaped style, Animal shaped style, Diamond shaped style, Radiated head shaped style, Horsefly shaped style, Arched bow shaped style, Fan-shaped style, Trumpet shaped style, Arched-fan shaped style.

• 한국가정과교육학회지
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• 제9권1호
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• pp.1-17
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• 1997

This study was conducted to obtain basic materials to improve the teaching method of Home Economics by theoretically looking into the supplementary teaching materials or implements usable in teaching Costume History area. And based on these data, the types and the applications of the supplementary teaching materials or implements highschool owned were examined. The subjects of this study were 111 Home Economics and Housework curriculum highschool teachers who give a lecture in the country by using self-administered questionnaires. SAS program was used to calculate frequency, percentage, average, standard deviation, and $\chi$(sup)2-test analysis. The results of the study were as follows； 1. Most of the highschool teachers used the school expenses for experiments in preparing the supplementary teaching materials or implements. 2. Of the supplementary teaching materials and implements concerning Costume History, visual implements such as slides and pictures were the mostly owned. CD and audio implements as cassette-tapes were not used. 3. Most of the teachers recognized the importance of the audio-visual teaching materials and implements concerning Costume History. 4. Among the audio-visual materials and implements concerning Costume History by which can be made by school teachers of Home Economics and Housework curriculum, the mostly used one was ‘cutting pictorials from magazines and newspapers’, and the next were ‘orbital materials’, and ‘copy the pictorials’, and the least was ‘recording from the radio’. 5. Most of the annual expenses assigned to the department of Home Economics was used in cooking practice, and the least of the expenses was assigned in buying audio-visual teaching materials and implements. 6. Time assigned to the area of Home Economics was for the most part one or two hours per week, and among this, time assigned to the history of western costume and the history ok korean costume was for the most part five to eight hours. 7. The areas that the highschool teachers felt difficulties mostly during clothing and textiles curriculum were ‘textiles’and the next were ‘knitting’, ‘western costume history’, and ‘korean clothing construction’. 8. The difficulties the highschool teachers faced while teaching Costume History were mostly that ‘the pictorials in the text is not fully explainable’, the next were ‘most of the supplementary teaching materials or implements are not owned’, ‘have to explain very much in a short time’, and ‘the lectural explanation is insufficient’. 9. The solution for the difficulties that the highschool teachers faced while teaching Costume History was mostly ‘the information, on which audio-visual materials and implements are distributed in the market, should be easy to obtain’, the next opinions were ‘the school should provide enough experiment and practice expenses to buy audio-visual materials and implements’, and ‘education facilities of the Home Economics Department should be the main aspects in improving the teaching methods and should give special lectures about it’.

• 한국의류학회지
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• 제37권8호
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• pp.1029-1043
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• 2013

The pearl is a highly valuable gem that has historically represented wealth and power. Pearl necklaces have developed intro various types and represent an essential status item for modern women. This study first examines the symbolic and various meanings of pearls. Second, this study examines wearing types and pearl necklace patterns based on historical figures and modern fashion icons famous for personal displays of pearls. This study examines and analyzes various specialty publications about jewels, history of costumes, fashion magazines, academic research data, and internet search results. The conclusion of this study is as follows. Pearls have various symbolic meanings that are unlike other gems. Pearls represent purity, innocence, marital fidelity, an intimate relationship with the moon, frozen tears of God, solitude, triumph over adversity, wisdom, and sensual attraction. The societies and people traditionally famous for pearls were the Roman Empire, Queen Cleopatra of Egypt, Queen Theodora of the Byzantine Empire, Queen Elizabeth I, Queen Marie Antoinette, Empress of Eugenie Napoleon III, and Queen Alexandra. They showed a special affection for pearl necklaces and various wearing patterns unique to the time. Their pearl necklaces became a historic and symbolic legacy. Reestablished through the costume jewelry of cultivated pearls designed by Coco Chanel in the $20^{th}$ century, the pearl necklace has showed a variety of fashion trends in addition to a traditional symbolism of wealth and power. Josephine Baker, Louise Brooks, Marilyn Monroe, Elizabeth Taylor, Jacqueline Kennedy, Queen Elizabeth II, Princess Diana, Michelle Obama and Sarah Jessica Parker have worn notable pearl necklaces and established an individual style that utilizes the adornment of fashionable and stylish pearl necklaces. They have worn pearl necklaces while applying various fashion trend motifs to symbolic pearl features of that have changed the perception of the pearl and themselves.