• The Research Journal of the Costume Culture
• /
• v.30 no.5
• /
• pp.631-655
• /
• 2022

Modern Hanbok tends to use new colors based on traditional colors and their symbolic meanings. In addition to the traditional colors, various expressions have been increased, it is necessary to consider the color and color trend used in modern clothing. This study focused on the period 2011 - 2020 and analyzed the main color and coloring method of top and skirt by year with 450 data from a total of 81 wedding magazines. The results of examining the characteristics of traditional colors during the target period are as follows. First, the main color of the Jeogori showed a distribution of various colors in the first half, but the main color of the skirt concentrated on black, white and light pink in the second half. Second, while the use of blue and green systems decreased, Dang-ui color changed to warm yellow, green, and red systems. The Baeja used plain dark white in the first half; however in the latter half, they changed to white or accented colors. The one-piece used various colors in the first half, but only black and white appeared in the second half. Third, in the upper and lower colors of Hanbok, the blue-red color, the traditional contrast color of the first half, decreased significantly in the second half. The appearance rate of proximity for the complementary color harmony of white-red color and the adjacent color harmony of white-blue increased.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.3
• /
• pp.457-466
• /
• 2009

The purpose of this study is to research the similarity and difference of color application in culture of Korea and China. The subject of this research is the costume color of Changgeuk and Beijing opera. First, a bibliographical inquiry includes the attributes of cultural color in Korea and China and the costume attributes of Changgeuk and Beijing opera. Second, this survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone by extracted color data. The results of this study are as follows: 1. The cultural color factors of Korea and China are classified geographical factor, internal cultural factor and external cultural factor. 2. Changgeuk costume much more used high value and medium & low chroma for korean temperate climate. But Beijing opera costume prefers high-medium value and low chroma color, various ranges of color because of China huge land and various climates, as geographical factor. 3. Changgeuk costume much more used YR color(no-dyeing color) because of korean white robe preference. Beijing opera costume much more used R color than Changgeuk costume because of traditional preference of R color, as infernal cultural factor. 4. Changgeuk costume and Beijing opera costume show the practical use of ascetic cole. like as jade green. Ojungsaek much less used than Obangsaek by the theory of exponents of the five elements doctrine, as external cultural factor.

• Journal of the Korean Society of Costume
• /
• v.59 no.2
• /
• pp.143-153
• /
• 2009

The purpose of this study is to provide color information in order to planning and merchandising in china fashion through the color of Beijing opera. In objective study, we collect total 302 Beijing opera images. The collecting method of source data is to extract digital color data by color picker. We transform RGB color data to H V/C, CIE L*a*b and analyze the attributes of color and tone, three-dimensional analysis. The results of this study are as follows : 1. The color distrbution of Beijing opera is R(26.9%)>YR(18.2%)>PB(11.6%)>Y(9.6%). Traditional preference color, red is most popular color as 26.7%:, the practice of vivid tone red is numerous. 2. The tone distribution of Beijing opera costume is P(16%)>It(13.9%)>d(11%)>5(9.6%)>4kg (8.2%)>b(7.1%:). The value o# Beijing opera costume distribute medium and medium-high and the chroma of those distributes low. 3. High chroma yellow is restrictive color as the symbol of emperor in china but medium-low chroma yellow is very frequently used. 4. Blue is often used in china costume. Especially in Beijing opera costume blue is symbol of bravery, dignity, cruel character 5. White in Beijing opera costume is much used for symbol of righteous loyalist. Black is less used than white in Beijing opera costume and black is authority color for symbol of the prime minister.

• Journal of the Korean Society of Costume
• /
• v.56 no.5 s.104
• /
• pp.29-43
• /
• 2006

The purpose of this study is to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking the characteristics and the conceptual meanings of colors found in the majority’s culture. The scope of the basic culture was divided into folk belief, folk game and folk play. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. For the analysis of hue and tone, the secondary dimensional analysis using NCS color system and the three-dimensional analysis using the software, COLOR 3D Version 2.0, were done. The result of this investigation is that the colors of the costume in the Korean basic culture are white, gray and black of achromatic color and yellow, yellowish red and purplish blue. This confirms that the colors based on Five-elements color are becoming the basis too basic culture. And Arche-pattern, which is a characteristic commonly found in the Korean traditional society, was shown as a characteristic of color. The colors of the costumes in Korean basic culture are uniquely adopted by the Korean civilians according to their religious and philosophical living standard. This study is meaningful in seeking a root for the formation of their unique color culture.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.10
• /
• pp.1629-1639
• /
• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• The Research Journal of the Costume Culture
• /
• v.16 no.2
• /
• pp.397-407
• /
• 2008

Recently, influence of color has been expanded in various fields including design field. Among human five senses, visual sense is best for information capturing, and 80% of information judgment by visual sense is from color. Color is emotion and image. Hanbok is marked by its beautiful color combinations. The guiding principle of such color chords was Obangsaek, or the traditional Korean five base colors. The method of this study is to consider concepts of Obangsaek derived from the principles of yin-yang and the five elements and is to investigate application of Obangsaek. And the purpose of this study is to understand traditional colors and is to provide judgment criteria on various color combinations based on Korean aesthetic sense for development of textile design. The degree of nation culture depends on the level of research, analysis and application on traditional colors. Obangsaek, Korean traditional color is splendid and primary color. Also, Obangsaek has symbolic and lucky meanings. These colors are still the primary source of coloring. Obangsaek has been reinterpreted by application on textile design, some into base colors and others into diverse shades. So this study will help in the aspect of development on Korean style design.

• Journal of the Korean Society of Costume
• /
• v.59 no.6
• /
• pp.82-93
• /
• 2009

This study is considered about the Taekwondo(跆拳道) uniform classified by period and analyzed the current Taekwondo uniform. And founded on this contents, new designs of uniform, that a functional side are considered and can symb이ize the identity of Taekwondo, are presented through this study. Ancient times to the present time, the Taekwondo uniform classified into three types according to 'Period of putting on our nation's costume'(three kingdoms${\sim}$Joseon(朝鮮) times), 'Period of confusion on uniform'(Japan's colonial rule of Korea${\sim}$-the early 1970s), 'Period of the settlement on official uniform'(the late 1970s-the present time). And besides, the shape of our nation's costume in ancient times is succeeded until Joseon times and this basic style becomes the outset on the current Taekwondo uniform. The designed uniforms are connoted the notion of the aesthetic appreciation in Korean traditional costume, that is, a symbolic, dignified, moderate appreciation with the consideration of a functional side for Taekwondo. And the contents on the presented designs are classified into 'shape, pattern, color'. First, these designs that are adapted the shape of Baji(바지) Jeogori(저고리)-belt, which have symbolized our nation's costume, and the shape of Bacja(배자) had used in Joseon times, are connoted a 'traditional appreciation with functional side'. Second, these designs, which are adapted the patterns of the active image(a bugbear, flying horse, tiger for embroidered patches, Taegeuk(太極)) in a modern style, express a 'symbolic, dignified appreciation'. Third, these designs are well-matched a black and white color with multicolored stripes(saekddong, 색동), and its ones are connoted a 'moderate and symbolic appreciation'.

• Journal of the Korean Society of Costume
• /
• v.60 no.4
• /
• pp.113-125
• /
• 2010

This study is purpose to trace a genealogy of Rainbow stripe in 30 ethnic costumes in East Asia. And with through comparative views between Korean and the other minority that is shown a bilateral relation of rainbow stripe in their costume, we make sure the unique character of rainbow stripe in Korean traditional costume. The stripe in the costumes was generally used on sleeves with 3~6 patches. There were 10 types of methods for making the stripe including sewing. Weaving and sewing with trimming was also frequently used either and the stripe by weaving with multicolored yarns were mostly found in the southern region of china. Black, blue and red were frequently used in the costume as a main color that was contrasted with rainbow stripe and especially, black was mostly used. Korean preferred bright colors as a main color. Contents of the genealogy of the multicolored stripe in ethnic costume in East Asia are followed. The 28 ethnic groups who used the stripe in their dress except Korean, the Mans, Mongo people and Tibetan were located in the southern region of East Asia. And the other ethnic groups distributed in the northwest and northeast region of East Asia. The distribution of the rainbow stripe in the costume could be grouped into two sections: the southern region people and Korean-the Mongol people-the Tus- the Zangs group. And the latter group was shown strong relation with the culture of Korean's rainbow stripe costume. 11 ethnic peoples including Korean, the Vis, the Miaos, the Tus, the Mongol people, the Chaoxians, the Zangs, the Lahus, the Jinuos, the Hanis, the Luobas and the Dulongs, were saliently used the stripe in their costume. The stripe in Japanese costume was judged that was not a kind of the rainbow stripe was shown the other ethnic groups, was a color arrangement by layered dress or geometrical pattern. From above, we could recap a particular characteristic of the rainbow stripe in Korean traditional costume. Many colors were used in the stripe and bodies than the other ethnic people and the color was bright. In many cases, a color of patch at the point of armhole was red and Black color was not used in the stripe. The width of patch was a relatively narrow and regular. It has shown that the rainbow stripe in Korean traditional costume was organized independently.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.1
• /
• pp.25-33
• /
• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• The Research Journal of the Costume Culture
• /
• v.15 no.5
• /
• pp.749-759
• /
• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.