• Journal of the Korea Fashion and Costume Design Association
• /
• v.11 no.1
• /
• pp.169-179
• /
• 2009

In order to preserve the Korean traditional gold foil, to develop as Korean traditional textile art by utilizing in modem fashion for textile industry, and to examine utility of the material which can be used in the modem wearing, interior goods and fashion terms, Textiles Applied Korean Traditional Gold Foil were developed. The results are as follows: First, important factors of the gold foil image should be extracted as materials quality, color and pattern, and modem and practical qualities should be proceeded when developing the image of the gold foil into modem quality material. Second, since gloss of fabric developed by a traditional method is somewhat strong, uniformity being a little bit low for hand-made manufacturing, and practical quality is low for high cost, deletion of the gold foil, etc. So it hasn't been appropriate for studying modem fashion material. Third, Jacquard weave has been examined as the most appropriate method in order to present the gold foil image among a number of textile manufacturing techniques Fourth, considering factors deciding the image of the gold foil and a sense of beauty of modem society, gloss of the foil has been lessened by expressing pattern to lower traditional quality and primary color. Fifth, pattern motives of developed materials have been extracted tram traditional gold foil patterns, and materials have been chosen considering of concepts and motives, and dragon pattern, crane pattern and bat pattern, Sixth, wearing, pin-up works, bed linen, fabrics for chairs, ties, bags, shoes, umbrellas, etc. are produced with the developed materials, and practical use and modern quality have been examined. The result is very satisfactory.

• Journal of the Korean Society of Costume
• /
• v.43
• /
• pp.187-202
• /
• 1999

The objectives of this study were to analyze the effect of dress(Korean traditional dress and suit) of elderly Women and situation on impression formation. The experimental design was $10\times{2}\times{2(dress}\times{perceiver's age}\times{situation)}$ factorial design by 3 independent variables. The stimuli of color photographs of female in her 60's model and the semantic differential scale were used. Six variables of impression formation were used: preference: elegance: potency: activity: feminine: and modernity. Samples were 400 women 200 were in their twenties and 200 in their forties and fifties. The data were analyzed by $\alpha$-reliability t-test ANOVA and duncan's multiple range test. The Korean traditional dress with the combination of Korean traditional color(light blue upper dress with dark red purple collar and string.dark blue skit) had the most positive effect on impression of elegance. Pink traditional dress and light blue traditional dress had a negative effect on impression of potency activity and modernity. Red purple suit had a positive effect on potency and modernity. The interaction between dress perceiver's age and stituation was significant for the impression of activity. Women in their 40's and 50's perceived the activity of red purple suit positively in the situation of alumnae meeting more than in the wedding ceremony. The perceived age of the stimulus person was different according to dresses. Traditional dresses was perceived older than suits were. Women in their 40's and 50's evaluated preferences of the dresses positively more than 20's did. This means that 40's and 50's feel similarity with the stimulus person more than 20's as the age of model was in their 60's The result supports the theory that similarity is basic factor in interpersonal attraction.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.3
• /
• pp.17-26
• /
• 2005

In this research, in order to find out the effect of the area ratio in the harmonic sense assessment of the coloration of Korean clothes, the coloration of a Korean jacket and a skirt was compounded with a similar coloration and a contrast coloration. The respondents were asked to evaluate 16 stimuli of the traditional Korean skirt and jacket with the coloration of the Korean jacket/ skirt, the skirt/ Korean jacket was separately compounded to be 4 tones such as vivid, light, dull, dark. The subjects were 44 female undergraduate students. The results of each can be summerized as follows. As to similar coloration, the korean yellow jacket and red skirt, Korean students feel vivid and dull tone was harmonious, and American students feel vivid, light, and dark tone were harmonious coloration. In inversed case, red korean jacket and yellow skirt, both countries' students recognized that the vivid tone was harmonious. Korean students gave higher points to korean traditional dress in similar coloration such as yellow korean jacket which was small area and red skirt which was large area coloration than inversed color area ratio which red korean jacket and yellow skirt. As to contrast coloration, the korean green jacket and red skirt, Korean students feel vivid tone was harmonious, and American students feel vivid, dark tone were harmonious coloration. In inversed case, red korean jacket and green skirt were recognized that any tone was not harmonious for both countries' students. Both countries of student showed the culture gap. Compared with American students, Korean students were familiar with korean dress's traditional coloration, as a result familiar coloration was recognized harmonious coloration.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.9 no.3
• /
• pp.19-34
• /
• 2007

The purpose of this research was to investigate the image dimension depending on the coloration of the Korean jacket of cromatic colors and the Korean skirt of acromatic color and to elucidate the image difference depending on the tone variation of the Korean jacket and the Korean skirt. The experimental materials used for this study were sets of stimulus and response scales(7 point semantic). The stimuli manipulated by computer simulation were 48 color pictures with various combinations of colors of jackets and skirts. The subjects were 576 female undergraduates living in Jinju city. This experiment was based on the $3{\times}4{\times}4$ factorial designs: jacket color(red, yellow and green), jacket tone(vivid, light, dull and dark), and skirt tone(N9, N7, N4 and N2). Image factor of the stimuli consisted of 4 different dimensions(youthfulness and activity, gracefulness, visibility and tenderness). Among them, the youthfulness and activity, and the gracefulness were important. According to the tone variation of Korean jacket of cromatic colors and Korean skirt of acromatic color, the images for a wearer were expressed diversely and showed the difference in image dimensions.

• The Research Journal of the Costume Culture
• /
• v.5 no.3
• /
• pp.142-150
• /
• 1997

Korean ritual dancing was doing in a royal court when an auspicious event happen in a country, a ritual ceremony was hold or reception for an envoy came from the other country was hold. There were 53 kinds of ritual dancing in Korea. Gumgee-Mu was the one among of them. Yea-Reung(woman ritual dancer) were dancing Gumgee-Mu with a sword. For Gumgee-Mu they wore a Kaeja(快子), Haebsuyoi(挾袖衣). Above it they took a Jeandae(戰帶), Jeanlib(戰笠). The dancing suit\`s color had a harmony with well mixed. Lunar-Solar-Five-Natural(陰陽五行) of oriented traditional concept.

• Journal of the Korean Society of Costume
• /
• v.59 no.2
• /
• pp.1-17
• /
• 2009

This study is to understand the characteristics of Korean Women's Jeogories in modern times on the changes of its color and coloration over the time. The research was that the characteristics of the costumes produced in modern times ($1890{\sim}2000$) can be categorized into six periods according to the change of times. 1106 women's Jeogories were researched intensively in order to understand them, the conclusions are following: When the Chi-Square Test is applied to conduct cross analγsis of the said six periods divided on the basis of relevant theories, it is found that there is just partial difference in the hues in1890-1959 while there has been a big change in the hues of all Jeogories since 1960. It also seems that such a sudden change In hues took place till the end of the 1970s but there have been no significant difference and no distinct changes in hues sin[e the 1980s. As for color tones, high luminosity and low chroma hues were mainly used in all periods, but low luminosity and high chroma hues have been frequently used since the 1960s. It indicates that the long-used conventional and traditional colors gave way to various colors which were freely applied according to the tendency of individualism In the selection of colors as well. As for the coloration, one-color arrangement was predominant in white clothes while the combination of main color Y and supplementary rotor R was overwhelming in two-color arrangement. After the 1960s, not just the five major rotors but diverse colors, including bluish green, dark blue, were used, even varied patterns for linings.

• Journal of the Korean Society of Costume
• /
• v.56 no.1 s.100
• /
• pp.1-12
• /
• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.14 no.4
• /
• pp.139-150
• /
• 2012

This study aims to understand the importance of stage costumes, examine and analyze their theoretical ideas in order to propose new designs and support the studies and advances of stage costumes in play. The writer operated and produced the costume designs of Shakespeare's play, Measure for Measure as a costume director, which was played on September 16 to 17, 2011 at the Haneul Theater in the National Theater of Korea and on September 3, 2011 at the Jinnam Munye Theater. The study was followed by 1. Proposing a new modern point of view of the design of the traditional dresses in 16th to 17th centuries. 2. Expressing a symbolism based on personality, role and nature of characters in the play by a creative and modern image of the dress in color, line, and silhouette, which are basic factors of a clothes design.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.3
• /
• pp.167-179
• /
• 2005

Skirts hold an important position in dress culture among various dress forms, being worn by more than half of mu. In this study, Chima is defined as garment for lower part of the body without crotch sewing, contrasting with trousers. The authors classify and compare the formation of the skirts of minority races in Yunnan area, based on Korean Chima, understanding the forms of skirts and examining the composition, color, pattern and material. For the study, the authors investigated 57 pieces of skirts among 341 pieces of minority races dresses from Yunn Nationality Museum collection exhibited at Korea Folk Village in May 2003, and referred to customs materials and photos in various literatures. Skirts in Yunnan area are divided into 6 areas, that is, seamless one-piece skirt area, wrapskirt area and mixed type skirt area. Skirt formation factors from the effect of environment such as climate, lifestyle and means of production were studied, and characteristics, differences and similarities were reviewed. Figure of skirts are studied by compostion, color, material, and technique. By composition, they can be classified based on the similarity to Hanbok (traditional Korean dress). By color, worshipped color and preferred color vary by races and by area. Materials vary in kinds and thickness by area with various climate. By technique, national characteristic patterns are inherited through national traditional dyeing and embroidery. It is not easy to conclude based on single item of skirt, but we suggest that national dresses have been settled through the mutual supplements between the effect of social and cultural exchange such as historical inheritance, geological environment, religion and production activity and the various forms of skirts from changes in shape, color, material and wearing form of dresses.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.22 no.2
• /
• pp.167-180
• /
• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.