• 대한가정학회지
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• 제26권1호
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• pp.11-19
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• 1988

Bending properties of 168 commercial silk fabrics and polyester fabrics for korean women's clothes were tested by KES-F system. Samples were classified into for summer, fall & winter fabrics. In this study, bending regidity(B) and bending hysteresis(2HB) were measured, then 2HB/W, {{{{ SQRT { 2HB/W} }}}}, 2HB/B which are concerning to formation of weared clothes and transformation behavior were investigated. fabrics for korean women's silk clothes for fall & winter were compared with fabrics for japanese kimono clothes on the bending properties. The results were as follows : 1. The bending regidity of silk fabrics were higher than polyester fabrics and bending hysteresis of fall & winter fabrics were higher than summer fabrics. 2. The 2HB/W and {{{{ SQRT { 2HB/W} }}}} of polyester fabrics were lower than silk fabrics. 3. the silk fabrics for summer clothes were the least in 2HB/B. 4. Silk fabrics for korean women's clothes were almost the same in bending rigidity, bending hysteresis and thickness of fabrics for japanese kimono clothes, but weight of the silk fabrics were lower to fabrics for jpanese kimono clothes.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2002년도 International Costume Conference
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• pp.16-22
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• 2002

• 복식
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• 제66권5호
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• pp.82-98
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• 2016

Korea and Japan have a cultural homogeneity because they were affected by China. However, each country has developed its own original culture due to their own national characteristic and endemism, In traditional clothing, though Korea and Japan share the same origin, they have developed their own form, Hanbok and Kimono, which have completely different looks. The differences in the traditional clothing is the result of the differences in each country's aesthetic sense, which is reflects in the artwork of those days. Ink-and-wash painting was the typical painting form in East Asia, so Korean and Japanese ink-and-wash painting from that period can be used to observe the differences in the aesthetic sense. This study aims to search for commonly shared aesthetic sense in the design process of Hanbok and Kimono by analyzing the styles of a representative Korean painting, "Sehando(Wintry Days)" and a representative Japanese painting, "Pine Trees Screen". H. Wolfflin's methodology influenced not only painting, but also architecture and sculpture. Therefore, this theory can be applied to clothing, which can be considered a type of sculpture. Modernization of traditional clothing has to start by analyzing the aesthetic sense of artisans that have affected the design of traditional clothing. To spread Hanbok globally and differentiate it from Japanese clothing, we have to acknowledge the differences between Korean and Japanese aesthetic sense, and based on this, we have to develop the design of Hanbok.

• 한국의류산업학회지
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• 제21권2호
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• pp.163-170
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• 2019

This study utilized the wearing test of subjects and a preference survey to determine wearing preference on types of blouses according to shoulder angle. The shoulder angles of the subjects were set as average shoulder, slopping shoulder, and square shoulder. The blouse sleeves were set as set-in, raglan, and kimono according to five domestic clothing construction books. A total of 15 blouses were made and tested by different bodices and sleeve types. The wearing test of subjects had the human subjects evaluate the appearance of the subject looking at the mirror while standing as well as evaluated the sensation test while not looking at the mirror. The preference survey was given to 100 females and was conducted using photos with combinations of three types of sleeves and shoulder angles in a survey under the same conditions. The average shoulder showed that set-in with the highest score in the wearing test was also preferred in the preference survey. The slopping shoulder evaluated the highest score in the wearing test by mirror; however, the preference survey showed that raglan was the most preferred choice. The squared shoulder showed that raglan with a high score in the wearing test by mirror was also preferred in the preference survey.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.289-291
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• 2004

• 복식
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• 제43권
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• pp.15-30
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• 1999

The Kosode(小袖) which is a traditional Japanese outfit with a narrower sleeve than the Kimono was worn under the court dress. Korean who first immigrated to Japan wore the Po(袍: the Korean clothes of the time) and introduced the outfit to the japanese people who adopted and integrated it into their daily wear. This outfit was labelled the Kosode(小袖) during the 13th century. The Kosode(小袖) eventually developed throughout centuries into today's Kimono. 기본포(基本袍). Kibonpo(Traditional Korean Basic Outfit), 袍형기본포. Mekibonpo(Traditional korean Outfit with Round Sleeves) 통수포 Tongsupo(Outfit with Narrow Sleeves) 고소데(小袖).Kosode(Traditional Japanese Outifit with narrow Sleeves) 후리소데(振袖). Furisode (Traditional Japanese Outfit with fluttering Sleeves)

• 한국의류학회지
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• 제26권6호
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• pp.811-820
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• 2002

The physical responses and subjective sensations of different cleanroom garments were compared in order to discover which cleanroom garment design could minimize pollution of the working environment by dust from the worker, maintain a pleasant microclimate and provide effective thermoregulation. A. Coverall with non-detachable hood, kimono sleeves (front), raglan sleeves (back), raschell net on the bodice B. Coverall with detachable hood, kimono sleeves (front), raglan sleeves (back), raschell net on the bodice C. Separate top with non-detachable hood, kimono sleeves (front), raglan sleeves (back), raschell net on the bodice D. Coverall with non-detachable hood, set-in sleeves, raschell net on the bodice E. Coverall with non-detachable hood, raglan sleeves (back), l00% cotton inner wear (upper body) The results of the experiment were as follows. Because the hood covered the shoulder and the chest areas, the chests temperature of the worker wearing garment E was quite higher than those wearing other garment designs. For fabric that has been coated in order to prevent dust, layered designs should be avoided in order to prevent skin temperature from rising. Compared with layers of underwear, it would be more effective to attach a see-through raschell net which clings to the body. Thermal sensations were also highest in garment E, reinforcing the finding that layered designs should be avoided. Through the experiment, it was found that a new material coverall with a non-detachable hood was effective in minimizing dust, suppressing skin temperature increases, maintaining a superior microclimate and providing pleasant subjective sensations.

• 복식
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• 제65권4호
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• pp.109-123
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• 2015

The object of this research is to take a bilateral look into cultural exchanges of the Netherlands and Japan through the East India Company and thereby improve the general understanding in regards to the exchanges of costume cultures between the East and the West. The study conducted qualitative analyses on features of contemporary costumes of the Netherlands and Japan from 1602 to 1799 by investigating the secondary sources, such as the histories of costumes, arts, and literature. The results are as follows; the traditional sleeves of the Japanese Kimono were basically cut out in a straight line. However due to the growing popularity of the kimono home gown in Europe, the producers of the kimono in India as well as several other European countries modified them into western-style sleeves. Regarding the costumes of the Netherlands, which were introduced to Japan, the study found that Japan imported Dutch fabrics, instead of specific clothing items. In Japan, costume controls and anti-conspicuous consumption regulations among social classes including a closed-door policy had negative effects on both developments and exchanges of costumes of the country. However, when it comes to the Jinbaori, a costume for ruling classes, Japan was open to using fabrics, patterns and designs of the West. In light of what have been discussed so far, the study confirmed that the costume exchanges between the two countries started long after their first business of the general cultural exchanges. Though it is clear that the advancements in the natural sciences that the Japanese made can be attributed to the West, Japan was one of the nations that impacted the costume cultures in Europe.

• 한국의류학회지
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• 제30권4호
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• pp.623-632
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• 2006

This study discusses the traditional costume of Korea and Japan and cognitive factors affecting its recognition by conducting a survey on both Korean and Japanese students so that comparative analysis of the differences about whether to rent or own traditional costume and about whether the students surveyed have visited the other country reciprocally, can be made to set the future course of the traditional costume which have gradually been worn less frequently and favored by less people. College students of Japan and Korea were chosen for this study and asked to fill in a questionnaire. 491 respondents were analyzed using SPSS10.0 for frequency analysis, factors analysis and t-test. Findings of this study are as follows: Firstly, there were 7 factors affecting the Korean student's recognition of Hanbok while 6 factors involved in Japanese student's recognition of Kimono. Korean students thought highly of the traditional costume and yet had less knowledge of it compared to the Japanese students. Secondly, analysis of the student's recognition of their counterpart's traditional costume showed that there were equally 4 factors affecting the student's recognition. Students found the traditional costume difficult to wear and uncomfortable when worn. Japanese students regarded Hanbok as an abstract form of the traditional Korean culture while Korean students viewed Kimono as a realistic form of something concrete. Thirdly, analysis of the differences about the recognition based on the student's owning or renting the traditional costume. or visiting the counterpart's country, showed that students owning the traditional costume were more positive about the traditional costume and well versed in it. And students having visited their counterpart's country thought more favorably of the traditional costume of their counterpart.

• 한국의류학회지
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• 제12권2호
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• pp.169-179
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• 1988

In the part 1, relations were found between fundmental mechanical properties and primary hand values, performance of Korean women's summer fabrics. In this paper, in order to investigate the hand values and mechanical properties such as tensile, shearing, bending, compression, surface and thickness & weight of the women's fall & winter fabrics were measured by KES-F system. Sorts of 90 commercial fabrics for women's fall & winter clothes were classfied into 39 silk and 51 polyester fabrics according to meterials. The experimental results were analysed statistically to relate the hand values and the mechanical properties and concerning to formation of weared clothes and transformation behavior were investigated. Furthermore, there mechanical properties as well as their hand values were discussed in comparison with those values for kimono fabrics. The main results are summarized as follows; 1. The shape of silk fabrics in formation for weared clothes show a box-shaped silhouette. Polyester fabrics has a easy to shape-less and make a silhouette which goes along with the body. 2. Silk fabrics for Korean women's fall & winter clothes have ${\pm}1\sigma$ range of bending, shearing, surface properties and thickness as compared with kimono fabrics. 3. A wrinkle recovery and drapability of silk fabrics for Korean women's fall & winter clothes are inferior to kimono fabrics. On the other hand, the fabrics for Korean women's fall & winter clothes have conical-shaped silhouette based on higher bending rigidity. 4. Except for flexibility with soft feeling, a primary factor of mechanical properties contributes to the hand values of fabrics for Korean women's fall & winter clothes having no concern with materials were same as the women's summer fabrics. 5. As for the hand values of fabrics for Korean folk clothes, stiffness, anti-drape stiffness are larger than those of kimono fabric and stiffness, anti-drape stiffness, crispness of fabrics for Korean women's fall & winter clothes have smaller values as compared with Korean women's summer fabrics.