• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.61-74
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• 2005

Wonsam, a type of korean women's gown in Choseon Dynasty, was used as a small ceremonial costume for queens, crown princesses and princesses and as a grand ceremonial costume for royal concubines and wives of high rank officials. It was also worn as a wedding dress for commoners. In the families of illustrious officials, it was also used as burial accessories or garments for the dead. In this context, Wonsam is a formal dress for the people's most important four ceremonies of coming-of-age, marriage, funeral, and ancestor worship. It is worth emphasizing the costume since it was widely and importantly used by all ranks of women, from royal families to commoners. Through the Wonsam of An-dong Kim Clan's, we can see what the society was like at the end of Choseon Dynasty. First, a status system that strictly divided costumes for each class, was, in many parts, broken down. Second, the highly wrought patterns and texture of fabrics of the Wonsam reveal that it was granted from Court, or, if woven by the Kim family, it is considered to be produced by the Court's craftsman or through technical transfer, considering that the weaving skills used are as good as those in Courts. Third, regarding the precise needlework that is uncomparable to textiles used by other illustrious officials families, the Wonsam is considered to be granted from Court or, produced through the needlework skills that were handed down from needlewomen in Courts. The Wonsam of An-dong Kim Clan's has noble beauty in it, with outstanding weaving skills, fabrics, needlework and shape. Thus, it is no exaggeration to say that it has those qualities to be the standard costume that inherits the tradition of Korean people.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.168-177
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• 2015

The purpose of this study is to investigate sustainable fashion flows and to outline their characteristics by analysing Esthetica as the largest trade-based sustainable fashion exhibition in the UK. Most of the researchers have focused on its ethical meaning rather than on fashionable criteria or marketable value. This pioneer work could be helpful in order to plan and study sustainable fashion flows. The research method is to identify characteristics of sustainable fashion trends through literature reviews and case studies focused on the UK, Esthetica events and participating brands. The following results were obtained. Upcycling suggests the extension of a product's lifecycle, a trend on the increase. Transparency is the crucial issue in sustainable fashion. Estethica shows that nurturing sustainable brands is one effective way of boosting the sustainable industry, as well as encouraging the production of sustainable products. Sustainable fashion has come to be included in mainstream fashion in terms of aesthetics and commercial competitiveness. Finally, sustainable fashion highlights quality of garments. Thus, Esthetica shows the present of sustainable fashion and its future, that is, sustainable fashion not just as a trend but a lifestyle for both its consumers and the industry. As the sustainable industry is a growing sector, it would be useful to carry out separate in-depth case studies on leading sustainable brands and qualitative aspects.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1836-1843
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• 2010

This research examines the possibilities of a traditional costume revival and digital exhibition as well as the application of 3D virtual clothing modeling data in order to preserve and record a disappearing costume heritage to realize it as a social education tool through the newly emerging technology of 3D virtual clothing. A 3D revival of costumes worn by royal families and aristocrats was accomplished through the 3D animation and simulation technology of Maya 2011 (Autodesk, Inc.) and Qualoth (FX Gear, Inc.). The simulation shows the possibility of a 3D revival and digital exhibition of costume heritage. However, further technology support to analyze and realize the composition and design is still necessary to develop the digital contents of traditional garment culture that includes skirt pleats, petticoat silhouettes, that exaggerates the skirts and knots of traditional upper garments (Jeogori). Further studies on design attributes of historic costumes and the upgrading of 3D simulation software are required to realize 3D virtual clothing. Korean traditional costumes will be revived as a cultural content in the digital era as a result of outstanding issues detected by this study.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.121-135
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• 2003

The purpose of this study is to suggest a theoretical basis to name Sa(紗) and Ra(羅) remains properly by comparing and analyzing the name, usage, value, length and width of Sa(紗) and Ra(羅) recorded on documents made at the end period of Joseon. The features of Sa(紗) and Ra(羅) at the end of the Joseon Period are as follows. 1. The kinds of Sa(紗) are about 80, those of Ra(羅) are about 12, and those of Sa(紗) are significantly more than those of Ra(羅). In regard to the aspect of patterns, there were about 20 types of patterns in the case of Sa(紗), but no specific pattern for Ra(羅). 2. Some newly revealed patterns in the case of Sa (紗) are as follows. Baek -bok-mun(백복문) was a pattern full of ‘bats(박쥐[복])’, and Baek-jeop-mun(백접문) was a pattern full of ‘butterflies(나비[蝶])’ Jeop-mun(접문) was classified into ‘butterfly patterns(나비문[접문])’ and ‘traditional window flame patterns(창살문[접문])‘. 3. When considering the usages of Sa(紗) and Ra(羅), Sa(紗) was used for various detailed purposes according to their kinds and patterns, but Ra(羅) was mostly used for underwear. The most commonly used Sa(紗) was the Gab-sa type(甲紗類). On the contrary, the Go-sa type(庫紗類) was significantly less used than the Gab-sa type(甲紗類). However, it must have been of relatively high quality Sa(紗), shown by the fact that it was used for outer garments. In addition, the Gung-sa type(宮紗類) was the best quality Sa(紗), shown by the fact that it was used for court dress and official uniforms in the royal court. 4. Sa(紗) and Ra(羅) whose features have been examined we Gapsa(甲紗), Sun-in (純仁), Gosa(庫紗), Gwansa(官紗), Jusa(走紗), Eunjosa(은조사), Gwangsa(廣紗), Waesa(倭紗), Dorisa(도리사), Gong-yangsa(공양사), Rasa(羅紗), Danghangra(唐亢羅), Yanghangra(洋亢羅), Yunjura(윤주라), Eunra(銀羅), Jeohangra(저항라), Chura(秋羅). 5. Regarding the values of Sa(紗) and Ra(羅), they were high quality textures and its length and width of 1 Pil(疋), a roll of cloth, were not subdivided in detail such as in the case of plain weaved silks(平絹).

• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.31-37
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• 2010

The purpose of this study is to investigate the causes of clothes phenomenon of the ruling class women on the Heian period of Japan in the aspects of politics, economics, society, culture, and religion. The findings of the study are as follows. The main characteristics of the Heian period of Japan may include a rare sense of internationalism, low sense of nationalism, and frequent cases of political intrigue. However, noble culture, centered on royal court, was flourished and it enabled to develop sophisticated and graceful culture. During the Nara period and the Heian period (from $8^{th}$ to $12^{th}$ century), there were enormous changes in the clothes, starting from the mid $10^{th}$ century. The clothes of the ruling class in the Heian period underwent changes from the imitative clothes-imitating the clothes of the Tang age of China- to Japanesque clothes-adding the aesthetic consciousness of Japanese ruling class people. Particularly, the clothes of the ruling class women became massive, majestic, and decorative. The changed clothes had also features such as layered look, utilizing underwear as outer garments, using a wide variety of colors, and using hard and solid materials to make clothes. It can be concluded that the clothes of the ruling class people in the Heian period were affected by plural factors such as national and international political situation, economics, society, culture, and religion. The clothes were used by ruling class people as means of expressing their noble and sophisticated beauty, which led to produce humanistic beauty. The Heian period can be described as an era of the highest reach of humanity.