• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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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.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of Conservation Science
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• v.27 no.3
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• pp.323-332
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• 2011

Microtexture and components of 7 glass bead fragments excavated from Andong tumulus in Gildu-ri, Goheung have been analyzed to determine the characteristics of their weathered condition as well as chemical compositions. Firstly, status of microtexture shows that there is a large quantity of pollutants which were presumably transferred from the buried environment into the surface and the gap of the cracks. The examination has displayed that there are less amount of alkali metal components such as sodium (Na) and potasium (K) in the gap of the cracks than on the surface. The chemical compositions analysis has confirmed that two samples belongs to potash glass group ($K_2O-SiO_2$), four to soda glass group ($Na_2O-SiO_2$), and one to the mixed alkali glass group. Chromophoric elements of the glass varies by different colours: blue and navy are cobalt (Co); greenish blue is copper (Cu) and iron (Fe); and light brown is Fe respectively. Such kind of scientific analysis of the excavated glass beads will contribute to the understanding of interchange between various local cultures and arts within the southwest region of Korean Peninsula during the 4th and the 5th centuries.

• Journal of the Korean Home Economics Association
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• v.25 no.2
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• pp.39-54
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• 1987

One's Clothing Satisfaction, has a great influence on his role behavior in a society. Especially, as for the teacher's and the professors whose role is teaching, it can not be too emphaszed. Above all, high school girls and college women are the most likely to be influenced by their teachers' clothing behavior, to whom they pay their respect in every way. From this point of view, this study was aimed at explaining, the correlation between the teachers/professors' clothing behaviors and the learning efficiency. On clothing behaviors assessed 30 items related with the learning efficiency, selected from the instruments of preceding studies, and modified by the factors dealing with modesty, color, and design. The questionnaires were composed of two major categories: those for students and for teachers/progessors. The subjects of this study were included students and teachers/professors of high school and universities in Seoul. The data were analyzed statically by mean, standard Deviation, and F-test. The results of this study were summerized as follows; 1. The clothing behaviors of the teachers/professors influenced on the learning efficiency. Namely teachers' clothing satisfaction is in direct proportion to them teaching efficiency and students' learning efficiency. 2. Among the clothing behavior variables, modesty had a great influence on the learning efficiency, especially as for that of teachers more than professors. 3. The influence of the teachers'/professors' clothing behaviors on the learning efficiency showed no significance between high school girls and college women, but some significance between the grades of collegians. 4. As for the teachers'/professors' clothing behavior, male teachers/professors gave priority to design and female teachers/professors to modesty, color showed no significance between them irrespective of age. 5. As for the clothing behavior variabels, both the teachers/professors and the students showed some significance. In class the teachers/professors highly responded to their own clothing behaviors than the students. 6. According to priority the most favorable clothing colors for male teachers/professors are navy blue, gray, indigo blue, and black, and the most disgusting ones red, mud yellow, violet, pink, and green. The most favorable clothing colors for female teachers/professors are beign, white, pale yellow, and black, and the most disgusting ones red, mud yellow, and yellow and yellow according to priority. It is that teachers/professors should wear modestly and in color harmony to invite the desirable students' will to study. Teachers'/professors' colorful appearance and heavy toilet bring about a drop in the students' will to study.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.

• Journal of the Korean Home Economics Association
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• v.30 no.2
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• pp.1-20
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• 1992

The purpose of this study was to investigate(Ⅰ) the effect of a masculine-feminine image in women's suit on the perception of the wearer's occupational characteristics and suitability of the clothing for certain occupations, and (2) the effect of perceiver's sex, sex-role attitudes, and occupation on the perception formed by the function of clothing cues. The research design of the study consisted of 2(pink and navy blue colors) × 4(masculine and feminine forms) factorial design of a suit. The experimental materials developed for this study were a set of stiuli and 2 response scales. The stimuli consisted of 8 drawings of woman's clothing made by systematic manipulations of 2 independent variables(color and form) in drawings of suit. The dependent variables were the perceptions of the wearer's occupational characteristics and suitability of the masculine or feminine clothing for certain occupations. Occupational characteristics were measured with a 7-point semantic differential scale composed of 21 bipolar adjectives. Perception of ccupational suitability was assessed with 12 items of 5-point Likert type questions. In addition, the Bem Sex-role Inventory was used to assess perceiver's sex-role attitudes. The subjects consisted of 393 men and 389 women, whose occupations were classified as professionals, secondary school teachers, and white-collar workers. They were randomly assigned to one of 8 suit. The data were analyzed by factor analysis, MANOVA, ANOVA, Mean and S.D. Three factors emerged to account for the perception of occupational characteristics. These factors were given the titles of (1) activity, (2) potency, and (3) evaluation factors. The activity factor was the largest, including 9 adjectives. Differences in the form of the suit had effects on potency and evaluation for both sexes, while it also had some effect on activity for women. The color of the suit had some effect on evaluation for both sexes. Strong effects of color and form on the suit were seen in perception of occupational suitability for the occupations of attorney(masculine) and secretary(feminine). On suitability for secondary school teaching occupation, the effects of color and form of suit differed by sex of the subjects. Perceiver's sex-role attitudes and occupation paritally influenced the perception of the wearer's occupational characteristics and suitability of the clothing for certain occupations. In summary, a masculine-feminine image of clothing had a significant effect on the perception of occupational characteristics as well as on suitability of the clothing for certain occupations. Thus, the results of the study support the implicit personality theory on person perception and also the stereotypes of sex-roles on the perception of occupational suitability.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.