• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.5-20
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• 2000

This paper aims at analysing the formative character of the Korean Shaman's Costume in the area of Hong -Sung, Choong -Nam. Korean shamanism has been the core of the traditional folk religions. so that it has had a great effect upon the formation of Korean's mind and custom. And its magical power remains unabated even today. Modern shamanism in the Hong-Sung area has been changed under the influence of the shamanism in the Seoul-Koungki area. Therefore modern shaman's costume in the Hong-Sung area is similar to shaman's costume in the Seoul-Koungki area. Modern shaman's costume in the Hong-Sung area has only 5 or 6 kinds. These consist of Pulsajangsam, Chulik, Kugunbok, Mongduri and Wonsam. But there are some differences between modern shaman's costume and traditional costume in the formative character, Modern shaman's costume in the Hong-Sung area has became simpler in the formative character and more gorgeous in color or adornment than that of the traditional costume.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.655-670
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• 2013

The purpose of this study is to identify the figurative characteristics and symbolic meanings of the patterns of royal families in the late Joseon Dynasty based on the theoretical examination as well as the overall characteristics of the colors based on the quantitative analysis of colors. This study focused on the costumes of King Young royal families in the late Joseon Dynasty which is the last costume of Joseon Dynasty and classified 129 relics under preservation for the analysis. This study analyzed the colors using the digital data in the picture brochure as the previous studies did and presented the color palette. Based on this, a variety of textile designs that are developed by using the traditional patterns and colors could be applied to the modern fashion designs. For Patterns used in costumes of King Young royal families, the five pattern categories include animals, plants, letters, and geometric patterns and the final category of other types. The features of color in the costume were v tone of Y color and lt and p tones of Y color. The implication of this study is to develop textile designs which reflects conversion of past and modern cultures and cultural identity by applying the traditional cultural elements through literature review and empirical study and theses developed 8 textile designs could be applied to the various modesrn fashion designs.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.62-71
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• 2007

The color is one of the important key words in Fashion arena today. In fashion, the image and concept changes by use of color or color combinations. The purpose of this research is to pursue the characteristics of color and color combinations through analyzing the colors utilized in oriental fashion design. It is necessary to define the oriental fashion design to build a criteria for collecting law materials for analysis of the research. As a conclusion, traditional oriental colors already used in various traditional artifacts were popular in use by many fashion designers with volatile attitudes towards its original symbolic meanings or philosophy. For example, yellow and red stands for gorgeous or sexy images through fashion design instead of express its original symbols of power and prosperity. The Complimentary Color Combination in hue, value and intensity of colors were also found in fashion design impling oriental images. While Contemporary Fashion Trend Color were also used in expressing Oriental images with oriental details considering fashion market. In using Oriental colors The characteristics of oriental colors and its combinations used in fashion designs are significant and their influences are meaningful not only in fashion design but also adjacent design areas.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.145-159
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• 2000

The first introduction of reformed Korean traditional cloth in was started in the age of civilization and until liberation from imperialism it was made a reformation in faculty from Korean traditional clothing. And by 1980s western style costume took lead but after Asian Game in 1986 and Seoul Olympic in 1988 Korean traditional beauty was added to costume and there were various attempt to produce truly reformed Korean traditional clothing. The present condition of reformed Korean traditional clothing in 1990s are like this : 1) Most of reformed Korean traditional clothing ships could not fractionalize customers. So it needs to subdivide and specialize customer and investment to improvement of design. 2) A large percentage of reformed Korean traditional clothing is ordinary dresses. So it should develop various sorts and color, design and textile and be in harmony with international trend. 3) Most of shops handled a coordinate goods like a bag and shoes. 4) In the investigation customers they wanted various colors, high quality in design , logical price and a periodical sale. So four pieces of the reformed Korean traditional costumes were designed and produced based on the present condition.

• Proceedings of the Costume Culture Conference
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• 2000.09a
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• pp.35-35
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• 2000

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• Fashion & Textile Research Journal
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• v.4 no.1
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• pp.11-18
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• 2002

The purpose of this study was to investigate the characteristic and composition factor of Japanese costume design. The stimulus were 25 contemporary costume design which represented the traditional image of Japanese. The main survey of questionary consisted of their evaluation of the Japanese costume image by 26 semantic differential bipolar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyzed by Factor analysis, Multidimensional Scaling Method and Regression Analysis. The major findings were as follows. As a result of design analysis, contemporary Japanese costume design which represented the traditional image had traditional form, color, texture, pattern, etc. Through factor analysis about Japanese costume image 7 factors were identified; Attractiveness, Attention, Cool and warm, Neatness, Activeness, Maturity, Classics. According to image positioning, Japanese costume design was classified by simple-decorative, soft-hard. As the result of regression analysis, The preference of Japanese costume image was related to attractive factor.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.