• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.39-52
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• 2005

This paper is to study about paisley shawl and paisley motif to focus on Kashmir shawl. Kashmir shawl and paisley shawl of Europe can be identified by the use of 'pine cone' motif. Early 19th Europe textile manufactures began imitating the Kashmir shawl, the motif began to be called 'paisley', after Paisley, Scotland, one of the largest producers of imitation Karshmir shawls. This study is to analyze on origin of shawl and paisley motif at the theoretical background. And main issues are to study on organization of the Kashmir shawl indusry, weaving technic and producing process, development of motif, change of size and border design of shawl, difference of Woven Kashmir shawl, Patchwork shawl and hml shawl, causes of decline to shawl industry, differences of between Kashmir and European shawl etc. The result of this study can help to understand correct and accurate information, knowledge of paisley motif and paisley shawl.

• Journal of Fashion Business
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• v.14 no.3
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• pp.1-19
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• 2010

The Assyrians usually wore two types - the tunic and the shawl. These two types were worn alone, or in combination and changes were introduced by varying the proportions of the tunic or shawl. The tunic appeared to be of the sleeves are short and reaching to the ankles or shortened to knee length according to the rank. Assyrian shawl pattern can be divided into five distinct styless. Many of the styles were suitable for costumes to wear in religious plays and pageants. Fringed shawls were the trademark of forma1 Assyrian costume. The usual badge of rank was a long fringed shawl. Intermediate rank wore shawl with short fringes and lower grade wore no shawl at all. The military costume was comparative uniformity : conical helmets was regarded as Scythic in character, short, fringed tunics, wide belts or helmet, round caps and long tunics covered in metal scales, belted at the waist. Assyrian woman costume was the long tunic with fringed hem and a long fringed shawl or was a plaid tunic and wide belt over it. They wore gold crown and horned Cap and tiara, ugal (head-dress) and the most ordinary earrings were the drop and the cross shape and necklace was made of the coloured stones and bracelets ended with heads of animal was regarded as Scythy style or adorned with a rosette at the centre.

• Journal of the Korean Society of Costume
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• v.34
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• pp.151-168
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• 1997

Pi was worn like a shawl or scarf in Western costume In a broad sense it means a skirt a towel a vest and a shawl However the subject of this study has limited a naarrow sense a long shawl Historically it appeared since Jin to Chung dynasty and had various names according to each dynasty Also Pi was changed its shape colour pat-terns and details with various names. Therefore the purpose of the study is to ana-lyze the formative characteristics of pi includ-ing how to wear it through Chinese history.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.21-36
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• 2000

History confirms that the eastern style was reflected in various parts of the western culture including clothing. In this paper we show some evidence that the influence of India on the French clothing during the neo-classical period(1789-1820) was substantial. Among others, the use of muslin, kashmir shawl and banyan during the period is greatly emphasized. The muslin imported from India was used as the textile for the chemise mown, a typical clothing during the period. Indian muslin was used, because it was of better quality compared to the muslin manufactured in England and France and it was not expensive. The kashmir shawl imported from kashmir in India was also a popular item in Europe not only because it matched well with simple color of chemise gown, but because it expressed the tone of Greek and Roman. Banyan which was most popular clothing worn by men in 18th century Europe originally came from India, which goes back to the Kaftan clothing in the Central Asia. Banyan was an informal home style clothing different from the conventional tight men's wear. It is true that the muslin, kashmir shawl, and banyan also became fashion items throughout the 19th and 20th century to the English and other European people. However, we limited our attention to the influence of India on France because we think the French Revolution and Napoleon's conquest of Egypt are far more important factors when considering the influence of Indian culture on Europe.

• Journal of the Korean Society of Costume
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• v.22
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• pp.97-118
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• 1994

This stud is my second trial to examine the costume of Balhae Dyansty. The subject of this study is the costume of a bronze statue excavated in the Maritime Provinces of Russia. The bronze statue is in the custody of Vladivostok Museum E.V. Shavkunov a Russian archelogist reported it a statue of-ficial of balhae dynasty in the 7-8th century. Judged his report lack of basis I suggest new opinion on sex, age, married or unmarried. social position manufactured time of the statue by comparative study on the costume hair-style and appearance of the statue with around nations' antiquities. hair-style of the statue is basically included in Ssangge and complexed style of Sage Ssangsuhuange, and Guange, Generally, Ssangge is a hair style of children, unmarried women, court ladies, dancing girls, and instrument player (lady)s'. The statue wears round-necked blouse long skirt broad fabric belt at high waist broad sleeve and confront collar coat cloud shaped shawl and risen tip shoes. The figure of statue is de-scribed plump. The statue shows straight sil-houette and high waist typical style of Tang, Uddai, The most characteristic facto is cloud shaped shawl Cloud shaped shawl was originally one of the northern race's shoulder ornaments. From the view of Comparative study the antiquities of NamDang and JunChock are simi-lar to this statue. Besides Tsukanovka river where the statue was excavated is Kraskino ruins of a castle formed single cultural layer of Balhae Dynasty and are relics of the layer of Balhae Dynasty and are relics of the latter period of Balhae Dynasty. Therefore this statue is assumed to have been manufactured at the last years of Balhae Dynasty and to be a figure of unmarried woman not official.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.425-448
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• 1995

The purpose of this study was to compare fur clothing preferences of Korean and Russian women, and then to provide a beneficial data to Koran fur manufacturers who is working in Korea and advancing into Russia. 346 subjects were gather in Seoul and Moscow through convenience sampling method, and frequency, percentage, mean, x²-test, t-test were conducted for data analysis. The results were as follows: 1. Korean and Russian women's fur clothing buying motives, information sources, important factors on purchasing, purchasing, influences ere generally examined. 2. Russian women's fur clothing possession rate as well as fur clothing purchasing intention in the future were higher than Korean women's. 3. Fur clothing item, material, color, style, length which Korean and Russian women prefer were compared. 4. In case of shilhouette, Russia women showed high preference on swinger shilhouette, relatively Korean women preferred H-line. 5. In case of collar design, Russian women showed high preference on stand collar, relatively Korean women preferred notch collar or shawl collar. 6. In case of sleeve design, Russian women showed high preference on turn back cuffs sleeve, relatively Korean women preferred push-up sleeve.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.5-17
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• 2002

This study aimed to investigate the relationship between ideal images of women and women's clothing fashion England between 1820s and 1850s. The age was divided into two periods, which were 1820-1836 and 1837-1850. During the first period, the ideal images of women were those of fairy, spirit, and angels, which were expressed by tight waist belt, wider and shorter skirt, top expanded sleeve, wide and flat pelerine collar, feather decoration, elaborate and curly hair style, narrow and light ballerina shoes etc.. During the second period, the ideal images for women were those of lady with modesty, quietness, and weakness. They were expressed by long and full skirt, tight or bulge over the lower arm sleeve, dropped sleeve, poke bonnet, body wrapping large shawl and sober color etc.. The result shows that the ideal images of women in 19th century England were concretely expressed by various clothing fashion including hair style, shoes, and decoration. This study sheds light on psychological, historical, and theoretical approaches to clothing.

• Journal of the Korean Home Economics Association
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• v.48 no.6
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• pp.31-41
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• 2010

This study aims to analyze the characteristics and styles of wearing scarves in the contemporary fashion. Scarf-wearing styles found in the contemporary fashion are as follows: 1) Scarves are used as gorgeous hair accessories which are tied around the head like a headband, turban. 2) The second style is to wear scarves around the neck, which involves a variety of ideas. 3) Shawl-like scarves add elegance and femininity to any outfit when they are draped over the shoulders. 4) Scarves are also worn instead of or in addition to a belt with a dress, skirt, pants. 5) The style is to tie a scarf in knots at the back of the neck and the waist as it is shaped or in a diagonally half-folded shape. 6) You can tie a scarf to your hat or handbag or connect a long scarf to one part of your body.

• Journal of Fashion Business
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• v.2 no.4
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• pp.13-20
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• 1998

Scandinavia consists of Norway, Sweden, Denmark, Finland, Iceland and Lapland, all linked by historical and geographical ties. In this respect, the objective of this research was to clarify the folk costume of the Scandinavia. Scandinavia many skilled handicrafts are practised, such as leatherwork, silverwork and embroidery. The most popular colours are yellow, blues, reds, greens and white. For women the costume consist of a blouse with a bodice, skirt and apron, over which is worn a jacket or shawl, accompanied by a headdress. Their accessories may be jewellery, belts, kerchiefs and separate pockets. For the men, the costume is a shirt, trousers or breeches, worn with a waistcoat and jacket, neck scarf, and topped with a hat or cap. And the Lapps, both men and women, wear woollen shirts beneath their blue-skirted tunics, and blue trousers. It is one of the most ancient of the costumes worn in western Europe, due to its total suitability to their way of life.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.813-827
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• 2006

In this investigation, the following study was carried out for an experimental proposal of the knit item lists which were not actualized due to lack of studies. First of all, we have put the knit item titles that have been used through the document investigation, into the lists in order to clarify the original item list. Furthermore, we have pointed out the problems and the areas to be developed in the original item lists, and proposed twenty new knit item lists. By defining the design traits of each item, we have established item list which could be classified more systematically. As a result, the knit item titles of twenty newly proposed item titles are knit pull over, knit pull over top, knit top, knit t shirt, knit shirt, knit polo shirt, knit blouse, knit vest, knit hood, knit jumper, knit jacket, knit coat, knit cardigan, knit ensemble, knit cape, knit shawl, knit bikini, knit one-piece, knit pants, and knit skirt. Secondly, in order to investigate the possibility of practical use of twenty knit item lists proposed by this study, we have applied anova with repeated measurement for foreign fashion collection knit item trends of the past 10 years based on the proposed item lists. As a result, four items classified as top, shirt, cardigan, and pants had similar changes in the trend for last 10 years in S/S season while eleven items classified as pull over, pull over top, blouse, vest, jacket, coat, cardigan, ensemble, cape, shawl, and one-piece had similar trend changes for F/W season. The first significance of this study is on the experimental proposal of knit item list which could be used in the actual clothing industry and academic field. Furthermore, by defining the design traits of each knit item, it sublated the confusions brought by vocabularies in design of knit products and distribution in the industry perspective, and it made it possible to categorize the knit items correctly in knit design analysis and knit design education in academic field. The second significance shows that this study brought about positive results in the possibility of industrial academic practical use of proposed list by indicating that most of the knit designs appeared in the foreign collections in the past ten years could be correctly classified through investigational analysis.