• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.131-141
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• 2005

The purpose of this study is to correctly understand the shapes and transformation of costumes of Ching's and Mongolian. Mongolian traditional costumes are trousers and jacket, with Deel(袍) and Terlig(帖裡) pleated in the waistline, and knee-covering narrow-sleeved long dress for men and women alike. It was designed for adapting to horse riding activities and cold steppe climate. Similarity between Ching's and Mongolian nomadic costumes was used as a means of unity by Ching. Transformation of Mongolian nomadic costumes are further divided into three kinds; Ching's or Russian's details applied to Mongolian nomadic costumes(Taekeum(大襟), Majesu(馬蹄袖), white choker), Ching's court costume imported as it is for the political purpose(Kijang(기장)), resistance against foreign countries and the spirit of nomadic people and independence reflected in Mongol costumes('Teregur ushi', 'Correct bosom'). Specially, Nomadic symbols constitute Mongolian spiritual world and clothing habits, especially evident in ladies' dresses.

• Journal of the Korean Society of Costume
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• v.39
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• pp.5-19
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• 1998

This study aims to analyze the shortening tendency of women's hanbok chogori (upper part of the Korean traditional dress) in the latter period of Chosun in three respects-socially, economically, and aesthetically. First, from the social point of riew, sexual role and social starus were examined. The strict sexual roles between males and females made the latter inferior to the former. The relatively lower sexual role had the woman look receptive and passive and wear a short and narrow kind of chogori. Also, the confusion of the social status system weakened the function of the costumes to differentiate social classes and, consequently, almost all classes wore short chogori. Second, the economic progress in the wake of the commerce-centered positivism at that time helped raise the economic status of the middle and low classes. As a result, with their social and economic status elevated, they tried to wear somewhat luxurious chogori. Third, aesthetically speaking, erotically-look-ing and much-shortened chogori derived from the weakened male-centered Confucian tra-ditional ethics in conflict with the humani-tarian positivism.

• Korean Journal of Human Ecology
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• v.22 no.2
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• pp.357-363
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• 2013

The purpose of this study is to suggest a new method to develop the apparel design applied construction of traditional swimsuit wearing Jeju woman divers known as Haenyeo. Jeju Haenyeos are represented as an image of the diligent and strong woman. With such an image, they have become the symbol of Jeju women. Furthermore, Jeju Haeyeo culture will be rebranded. The Jeju woman divers wear special swimsuit (Mul-sojungii) when harvesting the various sea products. The Mul-sojungii was buttoned down the right side so that it could be easily removed. Therefore, it is to review the fashion design products for effective item applied the original or modified folding technique of Mul-sojungii. As a result, it was to develop the bolero, jump suit and dress design of Korean image using folding technique(Guljapgi) of Mul-sojungii that is one of the unique, indigenous construction of Jeju.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.3
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• pp.49-61
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• 2003

This study is a process of developing experimental Korean image fashion items that can appeal to the younger generation. The sample models are focused on jeans and T-shirts. This project had two goals. First, giving chance to the students of Konkuk-University of producing fashion items adopting Korean image in university venture company. Second, contributing to Korean image fashion market if the items have been proved to have competitive power through the market of Konkuk-University and it's cooperated company. The research is restricted within ornament techniques of Korean traditional dress and its ornament's element, they are patchwork wrapping-cloth(Chokakbo), embroidery, gold and silver foil on cloths, and transcription. Such Korean image elements are graphic patterned as 30 jeans and 50 T-shirts and eventually evaluated by 100 university students majoring in garments. The evaluation scale contains repletion of Korean image, possibility of market, and preference. Through this process, 6 jeans and 7 T-shirts were produced.

• Journal of the Korean Home Economics Association
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• v.50 no.3
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• pp.15-24
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• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.37-51
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• 2000

In this study, New Orientalism represened in modern fashion is defined a new idea that harmonized with factors of eclecticism, traditionalism, naturalism, and futurism and these characteristics are examined. First, as these features, it is the phenomenon of eclecticism presented beyond regions and sex. Second, it is the phenomenon of traditionalism newly expressed traditional images in a modern sense by using and changing of a oriental dress image of the of the past. Third, it is the phenomenon of naturalism revealed an unalloyed recurrent instinct about nature and a desire for yearning. Fourth, it is the phenomenon of futurism which is come out the factor of oriental images whithin a minimal and cyber environment. This paper might be the foundation for Korean Orientalism which could be not a just pastiche but a cultural commodity and s main fashion current with a cultural identity especially in the year of 2000, "New Arts Year", declared by Ministry of Culture and Tourism.

• Korean Journal of Rural Living Science
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• v.7 no.2
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• pp.109-119
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• 1996

This research was conducted to investigate the characteristics of chosun people s dancing garments in Yanbian. The results were as follows : Yanbian dancing garments were generally based on Korean traditional royal-dancing garments or daily dress such as a wonsam, a bokgun, a kwaeja, a chunlip, a chogori, a bachi, and a chima. However, many parts of the dancing garments were transformed or recreated for combative, lively, energetic, and temperate dancing-motions, which represented the ideology of socialism. The transforms or recreations were found in a narrow sleeve of chogori, removal of collar and gorm in chogori, transformed kwaeja and vest, bachi, and flared chima, etc. Chosun people's dancing garments in Yanbin were mainly influenced by those of North Korea. There was great similarity between dancing garments of these two areas. The similarity could result from the acculuration of these two cultures.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.111-122
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• 2002

The study of traditional costume is significant in terms of figuring out of the reality of its originality and enrich the costume culture of today. The purpose of this study is to analyze the aesthetic characteristics and to contemplate the aesthetic values of the Kokuryo costume. Kokuryo costume were characterized with the simpleness in its clothing constructions. The spaces found on the dresses were emphasized giving a geometric characteristics and abstract images. Many different colors were used for tops, bottoms, and border elements showing value contrast in each parts of dress. Patterns were simplified in a dot or stripe shapes impling a certain symbols. Dot patterns were varied in its shapes. In general. the decorative elements were simple and eliminated. Through the process of investigating these aesthetic characteristics, aesthetic values were found. The aesthetics of nature were favoured and tradition were respected. Religious mind were favoured and progressive spirit were endowed by the Kokuryo people. They have pursued the diversities and many changes in visual forms of dresses which were the manifestations of their esprit.

• Journal of the Korean Society of Clothing and Textiles
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• v.1 no.2
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• pp.71-80
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• 1977

From the period of King Tae-Jong up to the third year of King In-Jo, the bestowal system for queen's court dresses from the Myeong Dynasty was one which was much lower than that of China. This system was applied to the queens' court dresses in the early Yi Dynasty. The pheasant's pattern on Jeockwan and Hapee probably indicates that Daesam was possibly regarded as Jeockyoe. In fact, according to Kaeredogam, Jeockyoe was for the first time made in the third year of King Kwanghae, which is the oldest record on Jeockyoe and Daesam. At the age of King Seon-Jo, a new type of queen's clothing was taken as an inevitable result of Japanese Invasion. Jeockyoe system was gradually made ceremonious until the period of King Yeong-Jo through Kakhonjeongye and Kukjosokoryeycobo; it became that of Queen Myeong-Jo's in the end. The traditional Jeockyoe system might have been interblended with Daesam. Yeodae was queen's usual dress and its pattern was the same as that of every women's dresses at Court.

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