• Journal of the Korean Society of Costume
• /
• v.62 no.8
• /
• pp.71-80
• /
• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• Journal of the Korean Society of Costume
• /
• v.67 no.4
• /
• pp.38-57
• /
• 2017

Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the characteristics of Balinese costumes by focusing on the Legong dance costume. Quantitative research was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illustrates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers. Bali dancing is grouped into Wali dance(sacred), Bebali dance(theatrical), and Balih-balihan dance(entertainment). The Legong dance is included in the Balih-balihan dance, and its costume developed from 1920 until present. The characteristics of Legong dance costumes are 'Theatrical,' 'Angelic,' 'Charming,' and 'Decorative.' In conclusion, the balance of religion, culture, and art gives a unique trait in Bali. The Balinese social system, which is based on Hinduism, has influenced art and its function. This relationship creates a strong structure to the Balinese ceremonial costume, especially the Legong dance costume.

• Journal of the Korean Society of Costume
• /
• v.51 no.2
• /
• pp.135-148
• /
• 2001

The measuring rule Is to extimate a size of a physical solid and its standard was each part of body since the beginning of the world. Korean traditional measuring rule was "Kyul Boo Sok Pa Bob". It bases on wreth of farm land and means a handful and a bundle. It was the real Korean traditional measuring rule though it was a influence on Chinese rule. And in Koguryo it had an effect on Japanese′s. In Chosun dynasty the King Sejong imprived the measuring rule and regylations in such a way to meet the realistic needs of civil lives. He put in good order by a proportions of the musical scale. It was one of fille correct ways to preserve the measuring rule and based on "Kyul Beo Sok Pa Bob"too. So ill that time the measuring rule for Korean traditional costume′s length was 46.703cm. In king Soonjo it′s length was 49.254cm and in 1926 it changed 50cm by the metric system. In 1990s the standard length has a difference in regions, 30cm, 45cm, 50cm, 54.5cm, 55cm and 60cm. As a result of the actual object investigation by regional measuring rule for Korean traditional costume it can reduce an accidental error when use the standard measuring rule, 50cm.

• Journal of the Korean Society of Costume
• /
• v.46
• /
• pp.109-132
• /
• 1999

The purpose of this research is to get basic data for R&D to activate and popularize the Practical Korean Costume. This research was carried out by theoretical study with literature and practical study with development of model based on the result of questionnaire. 1. In theoretical study the concept of 'Korean-image' of modern costume as well as 'Modernization' of Korean traditional costume has been suggested and 'traditional beauty of costume' which can be evaluated generally was considered. 2. In practical study the results of the questionnaire showed the objective numerical value of the element of Korean design which is firmly recognized by korean people. With the results the methods of development and composition of design have been suggested in the harmony of 'traditional' and 'modern' through the modernization in terms of form composition fabric color. It is expected that development direction of Practical Korean Costume which can be settled in everyday life with more independent cultural identity should be suggested. Additionally the research results will be useful for merchandise planning of costume industry.

• International Journal of Costume and Fashion
• /
• v.4
• /
• pp.101-111
• /
• 2004

This study was undertaken to discuss the traditional Korean Costumes up to the present and into the future, focusing on the internationalization by accentuating its aesthetic nature. In order to introduce the beauty of traditional Korean costume to the rest of the world, it is required that Korean fashion industry go through a full-scale renovation so that it can be concord with the contemporary world of information-technology. By having a deeper knowledge and understanding of the aesthetics in traditional costume and using them as guidelines, the present Korean fashion industry can accomplish an advanced level of research and development. The implications of the study are as follows. 1) It is important to recognize the functional aesthetics sociality of traditional costumes and to utilize it through appropriate application. 2) It is imperative to comprehend plasticity and expresiveness of meanings of traditional costumes. 3) Rationality and practicality of uniplanar character of the traditional costumes should also be recognized. 4) The globalization of the traditional Korean costumes will become more suitable to today's information-technology society and recreation of korean costumes by establishing a database through collecting information and systematic analysis of the world fashion trends.

• International Journal of Costume and Fashion
• /
• v.3
• /
• pp.1-11
• /
• 2003

This study aims to recognize the value of traditional culture and to create 'Korean style rest costume' i.e. in-door clothes for comfort's purpose designed for hotel or other tourist accommodations with its own image. In so doing, national pride and identity will be exalted for Koreans, while an opportunity of cultural expose will be provided for foreigners through the symbols of Korea, which will contribute to the international introduction and representation of Korea. First, this study investigates the external characteristics in forms and structures of Korean style rest costume. Second, questionnaires regarding consciousness of Korean style rest costume and preference in design are distributed to the hotel guest and staff-both domestic and international- to be fir out. Lastly, designed rest costume representing Korean image, based on the results of the survey. Upon investigation, users and employers both preferred two piece style which is separated to upper garment and lower garment. While employers preferred short sleeve, users preferred long sleeves. In colors, employers preferred blue while users preferred white. In garments, both of. the employers and users preferred cotton, towel and cotton flannel. In addition, when introducing rest costume, it will be efficient to distinct the strategy between natives and foreigners, and also distinguish where the rest costume will be used.

• Journal of the Korean Society of Costume
• /
• v.56 no.7 s.106
• /
• pp.17-30
• /
• 2006

The objectives of this study are to research into the traditional costume succession in south and north korea, and to compare similarity and difference of kinds, names, drawing of Jegory. Conclusions are described as follows: 1. In sort of Jegory, south and north korea have same kind of Jegory according to traditional form. But in making method, south korea have pursued various style from traditional type to modern type, north korea have maintained just simple and practical basic style. 2. South and north korea have used same or similar names for the basic part of Jegory. But north korea has made new names for constructional needs, so many differences were shown in the name of details. 3. In drawing of Jegory, north korea has hold traditional method and then tried to seek for rational, scientific technique. Also, due to the influence of south korea that advanced in modern aesthetic, drawing of Jegory in north korea were changed to similar.

• International Journal of Costume and Fashion
• /
• v.5 no.2
• /
• pp.78-83
• /
• 2005

The Purpose of this study is to introduce traditional Mongolian costume easily and shortly in various ways. The Mongolian costumes are very simple and convenient to wear because they are made in consideration of Mongolian culture in which people live with livestock and ride horses every day. Furthermore, they are associated with traditional national ceremonies. It is interesting the Mongolian costume is similar to Korean Hanbok. More studies of Korean costume and Mongolian costume will be significant for cultural and historical interchanges between two countries.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.10 no.2
• /
• pp.69-78
• /
• 2008

The purpose of this study is to develop a plan that adopts a fairly tale motif, which is familiar to children, to traditional Korean costume design factors for the development of practical Korean costume enterprises, which lead the Korean costume industry in its existence. Literary research and previous research methods had been used in this study. After comparing traditional Korean costume factors with practical Korean costume factors through literary research, we examined children's Korean costumes and ordinary children costumes. The results of this study are the following: First, the result of literary research, which used traditional Korean costume as motif of practical Korean costume and adopted model factors that the developed motif had used, shows that the design factors of practical Korean Costumes have changed from traditional to modern, seeking practicability and convenience over appearance. Second, practical Korean costumes are suitable when fairy tale illustration is applied to children with curiosity and warm emotions, and towards children, who spend much time on activity during growth. Third, making use of CAD system, which is different from practical Korean costume based on traditional patterns and single color, and using various pint pattern with many stories for the design of practical Korean costumes, and applying diversity to the market of practical Korean costumes, this study provides new design motif from, which people can feel more familiar to practical Korean costumes.

• Journal of the Korean Society of Costume
• /
• v.60 no.4
• /
• pp.162-178
• /
• 2010

The purpose of this study is to find aesthetic characteristics of Korean and Japanese women's traditional costumes in Modernization that happened in Korea and Japan during the late 19th century and the 20th century. The meaning of modernity has indefinite and comprehensive aspects, and the essence of modernity is found in searching for new changes. Modernization is the process of realizing modernity, and costume modernization can be discussed from the viewpoint of seeking new changes, functionality and popularization of costume. As Korean and Japanese costumes went through modernization, western costume became daily clothes of both two countries. The modernization of Korean and Japanese women's traditional costumes were achieved in the two directions. First, Korean and Japanese women's traditional costumes changed to search for functionality modeled of western costume. Korean costume went through dress reform movement and were generally simplified. Japanese costume made a change of wearing mode and introduced new garment like 'Hakama'. Second, the new style of traditional costume appeared. In Korea, 'Saenghwal Hanbox' was shown in the late 20c and in Japan, The reproduced dress(更生服)' and The women's standard dress(婦人標準服)' were shown in the late 1930's and the early 1940's. These kinds of new garment style were the more active compromise between the East and the West.