• 복식
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• 제64권4호
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• 한국의류산업학회지
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• 제22권5호
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• pp.561-569
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• 2020

In this study, the dyeing of Chrysanthemum indicum Linne alone and the combined dyeing of Chrysanthemum indicum Linne and onion shell were first performed to compare dyeing properties. A combination extract of Chrysanthemum indicum Linne and onion shell can be expected to improve coloration. A Hanbok design for children used a natural dyeing fashion dyeing method to make the Chrysanthemum pattern. Chrysanthemum indicum Linne is a type of wild chrysanthemum with various medicinal effects for headache and stress relief, skin diseases, insomnia and depression. Widely used onion shells have medicinal properties that help prevent and treat various adult diseases. The colors of silk dyed exclusively by Chrysanthemum indicum Linne, and the colors of silk dyed by Chrysanthemum indicum Linne and onion shell extract are yellow; in addition, silk dyed by Chrysanthemum indicum Linne and onion shell extracts were almost all unchanged. Four hanboks, which are comfortable for children to wear and use, were produced using Chrysanthemum indicum Linne and onion shell extracts. If children wear hanbok fashion products with auspicious patterns, they can provide a chance to simultaneously experience the traditional symbolism of Korean patterns and culture. In addition, it is expected to develop pride in traditional dress culture.

• 복식
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• 제56권5호
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• pp.29-43
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• 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.

• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 복식
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• 제35권
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• pp.253-264
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• 1997

Han-Bok presents a unique consumption ex-perience different from Western dress which is common to our clothing life. This study is intended to propose the necessity of broad-ening deepening and systematizing a research related to the social aspects of Han-bok. A questionnaire consisted of 10 statements of attitude to Han-Bok 7 statements of the evaluation of the occasional appropriateness of Han-Bok preference questions about style color harmony and decorative materials of han-Bok was developed which includes 5 opinion statement of the importance of tra-ditiona and some demographic variables. During December 1996 and January 1997 the women aged above 20 responded to it and finally 702 data was analyzed. Korean urban women have positive attitude to Han-Bok And the conceit about Han-Bok was significantly higher than the intention to wear it . The most properly evaluated occasion for wearing han-Bok was 'holdays' like Seolnal and chuseok Han-Bok was evaluated im-proper for casual wear and out wear. Factor analysis of 7 occasions determined 3 factors; traditional occasion special occasion and cas-ual occasion. It is needed to identify the ef-ficiency of Han-Bok according to each differ-ent occasion. Korean urban women preferred the style of traditional line soft color and modern har-mony. In a viewpoint of tradition they put more importance in the line of Han-Bok that they do in the color of it.

• International Journal of Costume and Fashion
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• 제3권
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• pp.107-120
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• 2003

The purpose of this study was to examine the differences in the clothing image perception of elderly women according to the clothing types, the clothing colors, the perceiver's sex-role attitude, and gender. Result of factor analysis revealed that the dimensions of clothing image perception was classified into four categories: evaluation, youth, warmth, and activity. Perceiver's sex-role attitude and gender gave a significant influence on the perception of evaluation factor. Youth factor had an interaction effect on the clothing types, clothing colors, and sex-role attitudes. The persons with a conservative sex-role attitude perceived the clothing image of warm color suits as younger than the one of cold colors. The clothing image of a warm colored Hanbok (Korean traditional dress) was perceived milder than a cold one, but there were no difference in suits. Bright color suits make the wearer look younger, and cold color suits make the wearer look active. The clothing color had greater influences on the warmth and the evaluation factor than clothing types. Persons who have a conservative sex-role attitude perceived the differences according to clothing types and colors in a traditional way. It could be certified that perceiver's sex-role attitude was one of the variables influencing his/her perception in social interaction.

• 복식문화연구
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• 제16권4호
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• 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.

• 복식
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• 제31권
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• pp.101-118
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• 1997

This research was carried out to sublimate our design with common sence so that the de-sign concept with our traditional chara-teristics can be acceptable in the world design area through re-creation works of tradition to be adoptable to modern concept. Form this survey the following could be derived. 1. in Korea designers should concern about the ration of skirt to jacket plait of Chima and string Koreum of hanbok. however they should pay more attention to string and color stripes to attract foreign customers in international market. It was found that koreans prefer the elegant and cur-vaceous design while foreigners demend edecor-ative design of Hanbok in addition to its el-egance and curvaeouseness. 2. It was also found that korean ramie fabric might be the most popular material for hanbok in Korea however silk and fine gauze might have to be used in international market. Generally it would be better to use the materials with natural and delicate feelings in Korea while the materials with gorgeous feel-ing in addition to natural and delicate feeling should be used in international market. 3, For the figures on Hanbok the embroidery figures and pictorial figures would be appropri-ate in Korea while it is necessary to develop the design with embroidery figures and gold foiled figures to satisfy the foreign customers. Accordignly it 8is required to develop the designers with figures with more elegant and gorgeous sence in both Korea and the world area.

• 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.