• 디자인학연구
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• 제12권4호
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• pp.317-326
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• 1999

한국전통색이란 시대를 초월하여 한국민족의 삶속에 살아있는 색이다. 이러한 전통색 중 한국전통색을 대표하는 청·홍의 색조특성을 알아보기 위하여 조선시대의 색명과 염직유물의 색조를 조사하였다. 한국전통색 청·홍의 색조를 조사하기 위해여 먼저 조선시대의 문헌을 통하여 출현색명을 조사하였다. 색조를 나타내는 한국말에는 대단히 다양한 형용사가 앞에 붙어 색조를 특징짓는다. 색명에는 여러유형의 형용사들이 앞에 붙는데, 그 중에 대표적인 것은 농색과 담색을 나타내는 형용사들이다. 이처럼 제한된 색명의 가능성을 증가시키기 위하여 조선인들은 다양한 톤의 청색계(32색)와 홍색계(40개)의 색명을 만들어 내었다. 이러한 청·홍색계의 출현율은 대단히 높고, 조선시대의 궁중복식에서도 주조색으로서 사용되었다. 조선인은 다양한 청·홍색계의 배색으로 그들의 음양론에 기초한 색체관과 세련된 미의식을 표현하였다. 박물관에 있는 염직유물들의 색체는 측색되어 먼셀컬러시스템과 ISCC-NBS의 계통색명법에 의해 분류되고, 고찰되었다. 또한 전통색조인 남염과 홍화염이 산업체에서 이용되어지도록, 남염과 홍화염의 염색방법을 계량화하여, 데이터를 제시하였다.

• 한국의상디자인학회지
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• 제15권3호
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• 복식
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• 제56권7호
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• 복식
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• 제58권6호
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• pp.145-157
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• 2008

Vivienne Tam was born in mainland China and educated in Hong Kong and has worked mainly in New York. Within multi-cultural background, she has shown unique fashion designs where western styles and China esprit were harmonized.. This study analyzed the ethnic look featured on Vivienne Tam's design to identify how she has expressed her ethnic identity into fashion. Photos featuring ethnic appeal among her New York collection from 1996 S/S to 2005 F/W were analyzed in terms of shape/silhouette, color, fabric, motifs, detail and accessaries. She utilized frequently chinese motifs and patterns such as bamboo, panda, budha, flowers, letters, and masks. Secondly she modified the shapes of Chinese traditional costume like Quipao to render ethnic appeal. Color, fabric and detail like frog and embroidery also contributed to enhance China mood. Comparatively, she used western clothing items including shirts, blouses, skirts, pants, dresses, and coats and maintained the silhouette tight and fit so that most her designs look wearable and westernized.

• International Journal of Costume and Fashion
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• 제11권2호
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• pp.13-24
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• 2011

This study explores the opportunities for new market of traditional Korean costumes, Hanbok, following not only the consumer's needs and wants, but marketing trends of fashion industry. This paper is the exploratory consumer research of fusion Hanbok, it aims at examining how consumers wear fusion Hanbok. Study participants were limited to mothers who wore Korean-fusion Hanbok to their baby's first birthday party once or more. A total of 221 respondents completed online questionnaires. The results of this study are as follows. First, regarding the reasons of wearing fusion Hanbok is a beautiful and traditional dress although traditional Hanbok is uncomfortable and inconvenient. Second, the most satisfactory aspect of fusion Hanbok was found to be its design. Satisfaction with the color, size and length was also high. Third, most female consumers in their 20s and 30s have stronger preferences for and intentions of purchasing fusion Hanbok. Some people criticize that as fusion Hanbok is westernized in its designs and materials, it has lost the classical beauty and impression of traditional Hanbok. However, if no one routinely wears Hanbok, Hanbok will never be popularized or globalized. This study suggest that traditional Hanbok should be improved by developing effective merchandising strategies based on consumer needs for traditional Hanbok such as various product assortment and promotion strategies using traditional Korean beauty. So, traditional Hanbok could be retained and succeeded in the future by improving consumers' dissatisfactions of traditional Hanbok and creating the new market of traditional Hanbok in which fusion Hanbok are produced focused on consumers' needs and market environments.

• 복식
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• 제24권
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• pp.103-120
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• 1995

The Xinjiang Uighur Autonomous Region to from the most of Eastern turkistan is located at North-wetern part of China, and it is the center to form the famous silk-road historically. In th exinjiang Uighur Autonomous Region there are 47 nationalities. In this study, the researcher studied the historical background, and the traditional culture about dress sand ornaments of 4 nationalities (that is Uighur, Kazakh, Kirgiz and Tajik). The results of the present study are as follows : In the basic structure of traditional costume by races, there is not big difference. Then , in men , the trousers and the shirts of funic type become the basis with the style which is convenient to act. And , to wear vest , or jacket , or chanban, over it makes a little difference . In women also, same structure shows with the form to wear vest or outerwear, on the basis of one piece. But , in a small hat, heat wear, color contrast, and decoration element etc. , strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion , and life habit etc. But, the discrimination is made in the detailed side. So , it can be said that they show the conservative nature of nationalities, and have preserved the unigue identity of their own culture.

• 복식문화연구
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• 제11권2호
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• pp.253-262
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• 2003

The purposes of the study were (1) to analysis Korean traditional wedding costumes through families's wedding photographs from 1940 to 2000, and (2) to categorize bride and groom's costumes according to the wedding time by means of a time series analysis. (3) to find out functional relationship among changes in garment types, garment details, embellishments and colors. The study was a documentary research and data were collected from 390 family wedding photographs by a convenient sampling. The data were analyzed by qualitative and quantitative method and the statistic used were frequency, content analysis, and cross-tab analysis. The results were as follows; First, the garments of wedding couples were categorized into 5 period according to garment's characteristics. 1. The period between 1940～1959 : Korean traditional wedding costumes and western style wedding costumes were existed together in Korean wedding culture. 2. The period between 1960～early 1970's western wedding costumes were dominated. 3. The period of late 1970's : wedding couple's costumes became more formal and decorative. 4. The period of 1980's : introducing see-through materials for brides and tuxedo suit for grooms. 5. The period of 1990's : extravagance in shapes and exposure. Second, there were significant relationships among brides's dress types and neckline, glove length, embellishments and transparency of materials and among groom's garment types and necktie types, types and color of shirts, vests. Third, the time series analysis of bride and groom's outfit produced 5 schematic expressions of wedding outfits according to the period.

• 한국의류학회지
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• 제40권1호
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• pp.1-11
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• 2016

Traditional costumes have evolved while reflecting the social, cultural and psychological values of the era. Costumes gain meaning by being worn that also allows their various symbolic meanings to be derived. Costumes worn in festivals by specific societies and organizations have especially apparent symbolism pertaining to their purpose. Most countries have traditional festivals that embody the country's distinct culture, history and traditions. These festivals are acts of consciousness expressing a special meaning of the community. Costumes represent a glimpse of life and culture during a festival period; in addition, the costume's style, color elements and decorations are expressions of community values and a distinct symbolic mechanism. Totemism (a significant element of these festivals) has been passed down for many generations. The current costumes for Totemism are distinct (compared to normal festival costumes) and embody a more symbolic meaning. This study deduces the exaggerated style, the concealment and disguise of the human body, and the pursuit of pleasure expressed in the Totemism costumes of regional European festivals. The symbolization theories of C. G. Jung and an analysis of Totemism costumes allow an understanding of their existential significance, their role as the medium between consciousness and unconsciousness, their meaning of symbolic transcendental unity, and their meaning of giving consciousness to the mind.

• 한국의류산업학회지
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• 제3권2호
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• pp.105-114
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• 2001

The result of this study is on textile expressed in the costume of the Kazakh tribe, Kirgiz tribe, Tajik tribe. Basically the material of costume is fur, cotton flannel, felt, silk, cotton outwear, velvet cloth and beads, silver, earing, bracelet is used frequently. The tribes did embroider on the shoes, made of sheepskin or calfskin and collar, belt, button, pocket with the sketch of national trait. Eventually their cultures of costume seem to be very similar because of the resemblances in circumstance of nature, religion, custom of life but definitely they show conservatism in itself and independent culture. In the basic structure of traditional costume by races, there is no big difference. Then, in men, the trousers and the shirts of tunic type become the basic with the style which is convenient to act. And, to wear vest, or jacket, or chaban, over it makes a little difference. In women also, same structure shows with the form to wear vest or outwear, on the basis of one piece. But, in a small hat, head wear, color contrast, and decoration element etc., strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion, and life habit etc., But, the discrimination is made in the detailed side. So, it can be said that they show the conservative nature of nationalities, and have preserved the unique identity of their own culture.

• 대한가정학회지
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• 제49권5호
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• pp.11-22
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• 2011

This study aimed to suggest more appropriate and accurate festival costumes based on a comparative analysis on various reproduced costumes and a period review of traditional festival costumes. In particular, the comparative analysis examined festival costumes which appeared in Korean and Japanese festival parades during the Baekje Period. The Baekje Cultural and Sacheonwangsawasso Festivals were examined. A literature review as well as field research and digital restorative techniques were used in the study. The reproduction patterns of Baekje costumes from both festivals were compared with original Baekje costumes, demonstrating several differences in the configuration, material, color, and shape of the costumes in addition to the way they were worn. Based on the comparative analysis, Baekje costumes used in Festivals were grouped into three categories: King's Costume, Queen's Costume, and Government Official's Costume. Dress sketches and 3D illustrations also have been presented.