• 복식
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• 제59권1호
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• pp.159-167
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• 2009

Based on instructions in the textbook "How to Construct Korean Costumes" which I authored, my university students were required to make Pungcha-Baji(Korean traditional pants for children) for one-year-old boys. While examining the students' construction, I found that the side seams of the vest and pants did not line up but were improperly twisted. It was found that the pants did not cover the child's backside because the width of the back was smaller than the width of the front when one of the side panels and the large center panel in the front was half the size of the hip and one of the side panels and the small panel in the back was four fifths of half the size of the hip. Although there were differences between the waist size of the pants and the bottom hem of the vest, the textbooks instruct that the amount of material and the number of pleats(i.e. 4 pleats) on the pants and the vest should be the same. Finding this mistake led me to investigate Pungcha-Baji construction in related textbooks. Thus with the textbook instruction, the side seams of the pants and the vest do not match and are improperly twisted. Hence, as a solution, the pleats should be made and adjusted after matching the side seams of the pants and the vest. The purpose of this study is to examine currently available Pungcha-Baji related textbooks and determine the correctness of their instructions and to ultimately provide correct construction methods for Pungcha-Baji pattern for academic purposes.

• 복식문화연구
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• 제23권3호
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• pp.368-383
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• 2015

The purpose of this study is to find an expression method for Korean fashion design that can have competitiveness in the global fashion market. For this, fashion specialists at home and abroad were interviewed, focusing on their opinions on the Korean motifs outlined in existing literature studies. First, aesthetic sense and expression characteristics that have appeared in existing studies on Korean art, Korean traditional costume, and Korean fashion were explored. As a result, they were categorized into: Modesty/plainness, freewheelingness, religion/custom, and humor/joke. During this process, Korean design motifs were extracted based on the aesthetic characteristic and expression method of aesthetic sense. According to the opinions on Korean design motifs and Korean fashion design works drawn from the interviews with fashion specialists at home and abroad, Changhomun was the favorite design motif to be utilized in Korean fashion design. The Korean specialists thought that visual design motifs were important, while the overseas specialists had more interest in abstract design motifs, which embody the background and story behind the motif. Regarding the fashion design associated with the Korean design motif, all specialists at home and abroad favored the design using ceramics and wrapping cloth. Regarding the choice of fashion image, Korean specialists chose the design utilizing Hangeul as the most Korean, while the foreign specialists chose designs reflecting the design motifs of Hangeul and Hanbok for women. The Korean specialists chose relatively more Korean images, while the foreign specialists chose more eastern images or other images than Korean images.

• 복식
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• 제59권8호
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• 한국의류학회지
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• 제27권6호
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• pp.715-724
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• 2003

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation from Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics, "Dan (단: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful and precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936. when the Jacquard machine began to be imported from Japan into Korea. From that time on, new fabric materials, such as yangdan (양단), and popdan (법단), hobakdan (호박단), silk and rayon mixed Dan(교직양단) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(단색단) was more common than that of the multi colored dan(다색단). But with the spread of 4$\times$4 shuttle box loom (양사정직기), various kinds of the multi colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.

• 패션비즈니스
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• 제23권5호
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• pp.31-47
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• 2019

This study focuses on women and fashion in Korea between the 1960s and 1970s, when the government regulated the socio-cultural aspects of individuals while achieving remarkable economic industrialization, particularly through the representative popular weekly magazine 'Sunday-Seoul'. The scope of this study included 168 issues from September 22, 1968 to December 26, 1971. Two research methods were applied, literature research and content analysis research. First, the literature on Korean society, culture, women's fashion, the sociological, feminine and popular cultural studies were reviewed. Thereafter, the contents, cover, articles, pictorials were collected and analyzed for classification and identification of the women's images and women's fashion. In the case of fashion articles, the contents of vocabulary and description texts were highlighted, and in the case of pictorials, the visual elements such as images, silhouettes of clothes, details of features, and patterns of materials were assessed. The images of women in Sunday Seoul's articles and pictorials exhibited extreme opposite, presenting the most important purpose of marriage, 'wise mother and good wife' and 'image of sexual object' for men. The two images of women differed; however, there was one more female image 'industrial laborer' which was placed in the blind spot of interest. The characteristics of fashion which appeared in 'Sunday-Seoul' were 'uniform modern elegance' based on neat mini-style, and 'sexual image of exposure fashion' which endeavored to selectively borrow from overseas pictorials and trend-oriented articles. This could be viewed as a 'transformation of traditional Hanbok', 'avant-garde trend' and 'de-sexualization & indifference of fashion'.

• 한국의류산업학회지
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• 제9권1호
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• 문화기술의 융합
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• 제9권3호
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• pp.399-406
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• 2023

본 연구의 배경은 한류의 확산으로 주목되는 공연 콘텐츠 개발에 있어서 전통 소재가 중요하게 부각되고 있으며 창작과정에서 스토리텔링을 적용하는 것이 필요하다는 것이다. 이에 따라 판소리 발레극 '도깨바! 도깨바!'의 공연창작 과정에 스토리텔링을 도입함으로써 나타나는 차별화된 무대의상 디자인을 살펴보는 것이 연구의 목적이다. 안무가, 작가, 의상 디자이너가 작품 기획부터 작품 내용 창작까지 스토리텔링 과정에 공동으로 참여하였으며, 그 결과로 한국적 도깨비는 초월적인 힘을 가진 신적 존재이면서 동시에 인간이나 사물의 모습으로도 나타나는 일상적이고 친근한 존재로 정의되었다. 그리고 공동으로 창작한 시나리오에 따라서 디자인 된 무대 의상은 기존의 공연에서 뿔이나 장식으로 표현하던 '귀면와'나 '오니'를 연상시킬 수 있는 도깨비의 모습을 지양하고, 퓨전한복과 다양한 조형적인 장신구, 색채 대비를 통한 모던 창작 의상, 질감에 의한 간접적인 사물에 빙의한 도깨비 캐릭터 표현, 일상복 착장 등으로 인간화 된 도깨비를 표현함으로써 차별화하였다. 따라서 본 연구의 의의는 도깨비를 주제로 한 새로운 공연 콘텐츠 제작에 기여하고 무대의상 디자인의 다양한 방향성을 제안하는 것이다.

• 한국지역지리학회지
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• 제17권6호
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• pp.698-709
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• 2011

1990년 중구, 종로구, 서대문구, 마포구 등지에 위치해 있었던 웨딩 업체들이 1995년 이후부터 입지상 급속한 변화가 나타나서, 2010년에는 대부분의 업체가 강남구에 집중되어 있다. 강남구 웨딩드레스 업체는 1990년대 초기 광림교회~압구정역 사이에 주로 분포하였다가 점차 도산공원 쪽으로, 그리고 학동사거리를 거쳐 청담동쪽으로 이동하였다. 청담동의 고급 이미지가 웨딩 업체들이 집적하게 된 주된 이유였다. 업체들의 집적은 청담사거리에서 최고를 보였다. 청담동에서 사업을 시작하게 된 동기로는 지역의 높은 인지도, 이미지, 업체 간의 협력 및 연계의 용이 등이었고, 높은 임대료와 교통 불편이 불만족한 점이었다. 업체 간 협력 및 연계는 컨설팅 업체를 통해서 대부분 이루어지고 있었고, 관련 업체의 수준 및 평판이 중요한 요소였다. 연계 및 협력 업체도 청담동에 가장 많이 위치해 있고, 이어서 논현동, 신사 압구정동 순이었다. 웨딩스튜디오, 웨딩드레스, 웨딩컨설팅, 한복 업체 등이 클러스터 관계가 가장 뚜렷했고, 수평 클러스터보다 수직 클러스터의 빈도가 더 높게 나타났다. 서울 웨딩 업체의 이용자 행태는 주로 인터넷과 웨딩컨설팅 업체를 통하여 결혼 정보를 수집하고 있었다.

• 복식
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• 제12권
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• pp.9-23
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• 1988

This study is on the costumes for Korean traditional play, Nong-ak(farm music), and intends to analyze their aesthetic features, laying emphasis on Pilbong Nong-ak, Im sil, Chollanam-do. About its origin there are many kinds of theories; for example, the theory of hoping stability, the theory of it being related with Buddhism, the theory of martial music, etc. Shamanic, Buddhist, and martical fators that support these theories are expressed through flags, bells, drums, Deograe (half-coats), Cheonrips (sang-mo, felf hats), go-kkals(peaked hats), colored lines called 'ga-sa', which are used in Nong-ak. The characteristic of the costumes used in Pilbong Nong-ak is that it keeps its conservativeness and the costumes of its members are various and splendid. For example, leader groups' black half coats, Changbu's and Hwa-dong's red and bule over coats are remarkable. Particpants wear gok-kal or cheonrip, trousers and half coats which are the basic costumes of Korean Hanbok, and wear blak half coats or blue vests and put blue, red, and yellow lines around them. The colors and knotting methods of those lines in this region are the same with those of chollawoo-do and Kyongi province, but different form those of Kongwon and Kyong-sang province using green, red, and yellow colors. This comparison of colors shows each region's preference of peculiar colors and those colors coincide with colors used in flags. The research on the aesthetic characteristics of Nong-ak clothes through each region's clothes tells us that these can be linear clothes which have expressiveness as stage clothes used in Madangori, the play which is performed in the field, and modern spatial formativeness. Those characteristics are as follows; 1. The expressions of a rhythmical and daring round line by turning a long line of sang-mo. 2. Various rhythms according to the attaching methods. 3. The expressions of thick, simple, and daring color lines. 4. Natural beauty of materials. 5. The popular simplicity and non-technicality 6. The beauty of five-direction colors, Oriental ideal colors Consequently in this study our national consciousness of beauty are examined through clothes. It is suggested that the aesthetic characteristics of Nong-ak clothes and ornaments should be effectively expressed, for this purpose. interests in participants' clothes should be increased in order to prevent the confusion of each region's features. Also it is necessary to improve color lines, their length, width, and knotting methods, and beautify instrument. Finally this study intends to bring the reappraisal about the art of Nong-ak clothes and its re-establishment in view of modern aesthetic consciousness.

• 한국콘텐츠학회논문지
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• 제13권11호
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• pp.492-501
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• 2013

본 연구는 일본 학생들이 필수로 이수하는 과목 중 한국문화에 관한 내용이 가장 많이 언급되는 초등학교 6학년 '사회'와 중학교 '지리'교과서를 대상으로 1980년대부터 현재까지 30여 년간의 한국문화에 관한 서술변화를 고찰하는 것을 목적으로 하였다. 이를 위해 교과서별 한국문화 콘텐츠를 기본적 요소, 독창적 요소, 시대반영적 요소로 분류하고 각각의 요소를 전통과 현대, 표층과 심층으로 재분류하여 각 유형별 등장양상을 살펴보았다. 일본 교과서에는 한복, 김치, 온돌, 고층아파트, 식사예절과 같은 의 식 주를 비롯하여, 수도 서울의 모습과 같은 표층적 기본적 문화요소가 가장 많이 나타나고 있다. 또한, 시기와 상관없이 항상 등장하고 있는 내용은 한국의 의 식 주 문화와 같은 기본적 문화요소가 대부분이다. 시대반영적 요소인 서울올림픽, 한일월드컵, 한류 등도 해당 시기 교과서에 충실히 서술되고 있다. 한국문화 콘텐츠는 2010년대로 올수록 내용과 범위가 확대되는 현상도 나타나고 있다. 또한 이들 콘텐츠의 표현방법도 최근 교과서로 올수록 보다 구체적인 설명 및 시각자료들이 제시되고 있다.