• 복식
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• 제53권8호
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• pp.81-89
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• 2003

This study is to consider both the eastern and western concepts of colors focusing on the five colors(Blue, Red, Yellow, White, Black) derived from the principles of Yang and the Five Elements, which are the traditional philosophy of the East and to analyze the modern fashion on the basis of the theoretical background. This study is summarized in the following. The eastern color concept has been formed by the influence of the principles of Yin and Yang and the Five Elements, which explain the generation and extinction of the universe. When it comes to the five colors, the symbolism of the east and west has much in common relatively. Concerning the rule of the five colors match, both the rules of the east and west are highly similar with each other. As mentioned above, the study shows that the five colors concepts and match rules between the east and west have much in common. There is a high possibility to connect the compatibility and incompatibility of the eastern five colors with scientific western theory of color harmony.

• 복식
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• 제43권
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• pp.31-40
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• 1999

This purpose of present study was to examine the figures and colors of hanbok textile. The data were collected from 489 pieces selling at hanbok shops in Taegu pusan and were analysed. Result of this study was as follows: 1) Figures As the hanbok figures tradition figures were used a great many among the figures. The next was natural geometric abstract figures. The reactionism trend was worthy of notice in figures and traditional design occupied most of them. 2) Color In the hue, YR, R, RP group were used concentratedly. Because 5,6,7 level were used a great many among the value value was represented lightly more than midium light. Because 2,3,4 level were used a great many among the chroma chroma was represented duller than midium chroma. Thus hanbok color was used mainly in a several party and korean were tendancy to like natural the sence of color.

• 복식문화연구
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• 제4권3호
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• pp.349-359
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• 1996

The research was designed to find out the effects of design elements ; ①color, ②pattern, on image perception of clothing by using a qualitative depth interview method. The subjects were 40 women who lived in Taejon and aged 20 to 40. The interview results were both hand recorded and tape recorded for further analysis by researchers and judge groups. And the results were as follows. 1. The most preferred colors appeared to be blue and black, while stripes, checks and flowers were most favorite patterns. 2. There were individual difference in color and pattern perception, however the color image of yellow was brightness, red was dashing, green comfortable, blue cool, and black tightness. The image of geometric pattern was modesty and natural motif pattern was dynamics. 3. The tow major forces which affected the image of design elements were appeared as followed : 1) Color images affected by the image of natural objects which obtained the color. 2) Individuals past experience and emotional status also affected the personal image perception. 4. The color and pattern preference for the Koran traditional customes and Western tow piece were significantly different and this result imply cultural stereotyping on image perception of design elements. On conclusion, the results supported the research model of form perception and image evaluation.

• 복식
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• 제17권
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• pp.83-91
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• 1991

I observed the meaning and the symbolic charaeters about the color and style of clothes appearing at "GER GA JAP BOK GO" written by Kyu Soo Park. The black color of Hyun Eui as a ceremonial dress of man symbolizes Heaven and Virtue. The yellow color of Whang Sang as a ceremonial dress of man symbolizes the Earth and the Impartiality. The blue or black decoration line over white ground of Sim Eui as ordinary dress of man symbolizes also Filial Piety. In woman ordinary upper garment, So Eui, black texture edging with blue line implies the mutual symmetricity with her husband's. Besides, white color texture lining So Eui symbolical to a Devine Nature and Homage implies also the deep concealment of feminine body. The black ground color of child dress "Chi Po Eui" symbolizes Naivety, and the red silk color of it's decoration line, belt and tress ornaments implies the praise of the Virtue & Learning and also "Expel the Evil" of our traditional national characteristics. As described above the meaning and symbolic characters about the color and style of clothes appearing at "GER GA JAP BOK GO" has a very Chinese disposition, but it's author Kyu Soo Park modified somewhat to be in harmony with the real social situation of our Country during that latest stage of Yi Dynasty, because he was one of the prominent pragmatist at that time.

• 복식
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• 제54권8호
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• pp.27-34
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• 2004

Jang Heung Lim's is a nephew's wife of Kim Duk Ryung, who had been served as a general of Chosun dynasty. When her Tomb was removed to another places there were excavated some articles such as six Korean traditional costume, Korean socks, Korean shoes (Mituri) and so on. The unearthed costume was designated as a monentous folk materials, No.112, and placed on Gwangju folklore museum. At that time, the mending work in the lost part of costume was not implemented. Only an act of textile conservation was worked. In the article, we go through the mending principles and mending methods in damaged parts of costume. First, the mending principles on the damaged costume are as follows : (1) minimize the repaired parts, (2) mend the only damaged parts, (3) use the same color and cloth as that of original ones, (4) use the appropriated stitching method (5) act the fixed framework in case of missing a outer cloth. Second, the mending method related to the damaged part are as follows : (1) the repairing method in the bodice and sleeve part of costume, (2) the repairing method in the hem of steeve, (3) the repairing method in the collar of costume, (4) the repairing method in the armpit part of costume, (5) the repairing method in the connecting parts between one and another width of Korean traditional long skirt. With this article, we wish that the repairing method in the cultural costume will be developed scientifically and specified efficiently.

• 복식
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• 제52권2호
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• pp.81-90
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• 2002

There are increasing a foreign visitors since 88 Seoul Olympic game. Uniform is getting increased importance as one of the symbols which represent the characteristic of restaurant as well as gloves good impression to the customers and foreign tourist. This study aims at developing uniform packages (including table cloth, mat, napkin, end so on) that satisfy the customers' need and let foreign visitors recognize the outstanding beauty of Korean traditional pattern. For uniform design, It was selected a sumacsae of a the lotus flower motif and developed a textile pattern design by using CAD system. And then the developed textile design was printed a polyster100% fabric by using the digital textile printing system. Uniform packages designs were developed applying traditional sumacsae motif in order to capture a modern stance of beauty under using blue and pink color and same concept of modern image.

• 복식
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• 제54권2호
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• pp.39-52
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• 2004

The purpose of this comparative study what is the way to express difference fashion design between Japanese fashion designers and Western fashion designers in the 1990s. The design data were 422 pictures of contemporary fashion designs which represented the Japanism style design from fashion collections and analyzed by literature study and classification categories. The results were as follows : 1) Early general Japanism expression was directly borrowed from traditional fashion design elements and has changed indirectly with fashion trend. 2) Japanese fashion designers have used color, fabric, and pattern than shape to express Japanese traditional images. 3) Western fashion designers have directly borrowed aesthetic elements of Kimono design, that is, layering. bending, neck-line, sleeve, and traditional Japanese men's wear to express Japanism.

• 복식
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• 제50권3호
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• pp.105-116
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• 2000

In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.

• 복식문화연구
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• 제8권6호
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• 복식
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• 제67권3호
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• pp.133-148
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• 2017

The purpose of this paper is to develop waist coat designs that can be worn in the present day by researching design techniques and traditional waist coat forms shown on Korean patchworks called 'Jokakbo', which was commonly used in our traditional culture. By selecting patchwork as the primary motive in particular. The Bojaki, also known as deungguhli or baeguhli(背巨里), gives off a natural and vibrant color sensation. A new design that could be practically worn with modern clothing was developed by sufficiently reflecting this color sensation as well as the aesthetic quality of its geometric shape. On the basis of theoretical consideration of traditional cloth and vest, total of 7 points were designed and produced. These works contain diverse application of the traditional Bojaki and vest. The design of the Bojaki grants rhythmic sense to the side where diverse colors and formative patterns shown on the cloth can be seen as monotonous. The entire side opening of the traditional waistcoat can cover multiple sizes. Depending on the movement, the front and back naturally spreads. The vest can also be worn in layers or used as a cotton quilt depending on the season. And after minimal design alterations, it will be possible to wear the vest with diverse modern clothing due to its straight line and form.